# Stylogeny

> An atlas of 359 graphic-design styles from 13 world regions. Each style is described by the design choices that make it (150 choices in 10 facets: layout, space, type, colour, form, surface, ornament, imagery, medium and tone), with its history, lineage, real works and sources. Made by Van Riel Online Services.

The images on the site are generated by AI from each style’s design choices and labelled as AI-generated; they are not historical works. Some styles carry a note on respectful use: please pass it on.

## About

- [How the atlas is made](https://stylogeny.com/about/): who makes it, how a style is described, where the facts come from, how images are made
- [All styles](https://stylogeny.com/styles/): every style by branch, with ways to browse
- [Design choices](https://stylogeny.com/design-choices/): the vocabulary of 150 design choices, each with the styles that make it

## Styles

- [Amazigh Sign System & Tifinagh](https://stylogeny.com/styles/amazigh-sign-system.md): c. 0–present, Middle East & North Africa, Sub-Saharan Africa. The visual language shared by Amazigh communities from the Rif, Atlas and Kabylie to the Aurès and the Tuareg Sahara.
- [Chinese Calligraphy & Seal Carving (Shufa & Zhuanke)](https://stylogeny.com/styles/chinese-calligraphy-seal.md): c. 0–present, East Asia. The written art of China and the root of East Asian lettering.
- [Ancient Egyptian Hieroglyphic & Register Composition](https://stylogeny.com/styles/egyptian-hieroglyphic.md): c. 0–394, Middle East & North Africa. The visual system of pharaonic Egypt, in which writing is made of pictures and pictures are ruled like writing.
- [Chinese Paper-Cut (Jianzhi)](https://stylogeny.com/styles/chinese-paper-cut.md): c. 500–present, East Asia. China's folk art of cut paper, made mostly by rural women and passed from mother to daughter, and by town guilds and workshops.
- [Ethiopian Ge'ez Manuscript & Haräg Illumination](https://stylogeny.com/styles/ethiopian-manuscript.md): c. 500–present, Sub-Saharan Africa. The manuscript art of the Ethiopian and Eritrean Orthodox Tewahedo Church, written in the Ge'ez syllabary on parchment from the Garima Gospels (radiocarbon-dated to roughly the 4th–7th centuries) to the present.
- [Andean Woven Graphic Systems](https://stylogeny.com/styles/andean-woven-graphics.md): c. 600–present, Latin America & Caribbean. The graphic systems of Andean cloth, the region's most prestigious medium, in which every motif is built on the warp-and-weft grid.
- [Islamic Geometric & Calligraphic Tradition](https://stylogeny.com/styles/islamic-geometric.md): c. 690–present, Middle East & North Africa, South Asia, Southern Europe. A visual system shared across the Islamic world in which proportioned calligraphy, compass-and-straightedge geometry and the vegetal arabesque carry meaning and beauty in place of figurative imagery.
- [Armenian Manuscript Illumination](https://stylogeny.com/styles/armenian-illumination.md): c. 862–1800, Middle East & North Africa, Eastern Europe. The illuminated books of the Armenian Church, from the Gospel of Queen Mlke (c. 862) and the Etchmiadzin Gospels (989) to the last manuscripts around 1800.
- [Hebrew Micrography](https://stylogeny.com/styles/hebrew-micrography.md): c. 895–present, Middle East & North Africa, Southern Europe, Central Europe, Western Europe. A Jewish scribal art in which lines of minute Hebrew script, usually the Masoretic notes that guard the biblical text, are written so that the line itself draws: interlaced frames and star rosettes on full carpet pages, and animals, knights, fish and grotesques in the margins.
- [Maghrebi Script (Maghribi Calligraphy of al-Andalus and North Africa)](https://stylogeny.com/styles/maghrebi-script.md): c. 900–present, Middle East & North Africa, Southern Europe, Sub-Saharan Africa. The family of Arabic scripts of al-Andalus and North Africa, descended from early Kufic bookhands.
- [Song–Ming Woodblock Book Typography (Songti / Mincho)](https://stylogeny.com/styles/song-ming-book-typography.md): c. 960–present, East Asia. The page and letter of the East Asian book.
- [Kamon (Japanese Family Crests)](https://stylogeny.com/styles/kamon.md): c. 1100–present, East Asia. Japan's family crests: small one-colour emblems that reduce a plant, animal, tool or pattern to a flat silhouette, mirrored or repeated around a centre, often ringed and drawn with compass and brush.
- [Nianhua & Chinese Folk Print](https://stylogeny.com/styles/nianhua.md): c. 1100–present, East Asia. Woodblock pictures bought each New Year and pasted on doors, walls and kitchen shrines to invite luck and ward off harm: paired door gods, plump babies with carp, the Kitchen God, opera scenes and auspicious rebuses.
- [Square Kufic (Bannāʾī)](https://stylogeny.com/styles/square-kufic.md): c. 1100–present, Middle East & North Africa, South Asia. Square Kufic builds Arabic script on a square grid: straight lines and right angles only, with every stroke as wide as the gap beside it.
- [European Heraldry](https://stylogeny.com/styles/european-heraldry.md): c. 1140–present, Western Europe, Central Europe, Northern Europe, Southern Europe, Eastern Europe. The hereditary identifying devices of medieval Europe's knights and seals, codified into a rule-bound grammar still used by states, cities, churches, universities and families.
- [Gothic Blackletter & Fraktur Tradition](https://stylogeny.com/styles/blackletter-fraktur.md): c. 1180–present, Central Europe, Western Europe, Northern Europe, Southern Europe, North America, Global / networked. The broken scripts of the Latin West.
- [Mixteca-Puebla Codex Painting](https://stylogeny.com/styles/mixteca-puebla-codex.md): c. 1200–1560, Latin America & Caribbean. The painted screenfold books of Postclassic southern and central Mexico (not the Maya codices): long strips of gesso-coated deerskin, folded like a screen and painted on both sides.
- [Mongol Bichig Calligraphy & Ugalz Ornament](https://stylogeny.com/styles/mongol-bichig-ornament.md): c. 1204–present, East Asia. Mongolia's classical script and the auspicious ornament that frames it on state, Buddhist and household objects.
- [Vyaz (Ornamental Slavonic Lettering)](https://stylogeny.com/styles/vyaz-lettering.md): c. 1230–present, Eastern Europe, Southern Europe. Cyrillic letters bound into one even band of ornament.
- [Persian Miniature (Ilkhanid, Timurid and Safavid Book Painting)](https://stylogeny.com/styles/persian-miniature.md): c. 1300–1700, Middle East & North Africa, South Asia. The court book painting of Iran and Timurid Herat, formed in Mongol Tabriz from Islamic, Byzantine and Chinese models: from Rashid al-Din's Jamiʿ al-tawarikh (1314) and the Great Mongol Shahnama to Behzad's Herat and the Shahnama of Shah Tahmasp, ending in the album pages of Safavid Isfahan.
- [Ottoman Tughra & Dîvânî Chancery Calligraphy](https://stylogeny.com/styles/ottoman-tughra-divani.md): c. 1324–present, Middle East & North Africa, Southern Europe, Eastern Europe, South Asia. The Ottoman sultan's calligraphic monogram and the chancery hand written beneath it.
- [Mithila (Madhubani) Painting](https://stylogeny.com/styles/mithila-painting.md): c. 1350–present, South Asia. Women's ritual wall and floor painting from Mithila in north Bihar and Nepal's Terai, attested from at least the 14th century, seen by W.
- [Persian Nastaʿlīq Calligraphy (Qiṭʿa, Chalipa and Siyāh-mashq)](https://stylogeny.com/styles/persian-nastaliq.md): c. 1400–present, Middle East & North Africa, South Asia. The 'hanging' script of Persian poetry and an art of the single sheet.
- [Tibetan Woodblock Print Culture (Pecha & Prayer Flags)](https://stylogeny.com/styles/tibetan-woodblock-print.md): c. 1410–present, East Asia, South Asia. Tibetan Buddhist and Bön woodblock printing, from the first printed Kangyur (1410, cut in China) and the 15th-century presses of Gungthang to the great printing houses of Narthang, Derge and Lhasa.
- [Renaissance Book Typography](https://stylogeny.com/styles/renaissance-book.md): c. 1460–1600, Southern Europe, Western Europe, Central Europe. The printed book as shaped by humanist Italy and France: roman and italic types modelled on humanist handwriting, a single justified text block set in harmonious proportions within generous margins, and woodcut initials, borders and printer's devices as the only ornament.
- [Kōwhaiwhai & Toi Māori Design](https://stylogeny.com/styles/maori-kowhaiwhai.md): 1500–present, Oceania. Toi Māori, the visual arts of the tangata whenua of Aotearoa, of which kōwhaiwhai, the painted scroll patterns of paddles and meeting-house rafters, is the most graphic strand.
- [Ma & Wabi-sabi Aesthetics](https://stylogeny.com/styles/wabi-sabi.md): 1500–present, East Asia. A Japanese aesthetic rooted in Zen and the wabi tea ceremony that prizes austerity, imperfection, impermanence and the charged interval (ma) between things.
- [Javanese Wayang Kulit (Tatah Sungging)](https://stylogeny.com/styles/wayang-kulit.md): 1500–present, Southeast Asia. The visual language of Javanese shadow puppets: flat figures cut from buffalo parchment, with head and legs in profile, shoulders turned to the front and long jointed arms worked by horn rods.
- [Zoomorphic & Figural Calligraphy (Islamic Calligrams)](https://stylogeny.com/styles/zoomorphic-calligraphy.md): 1500–present, Middle East & North Africa, South Asia, Southeast Asia. Pictorial writing in which the strokes of a devotional text form one figure: a lion of ʿAli built from the Nad-e ʿAli prayer, a galleon whose hull spells the names of the Seven Sleepers, a peacock, a Sufi cap.
- [Emblem Book (Motto, Picture & Epigram)](https://stylogeny.com/styles/emblem-book.md): 1531–1724, Southern Europe, Central Europe, Western Europe. A European book genre in which, from Chrestien Wechel's Paris edition of 1534 on, every page or opening repeats one fixed unit: a short motto, an allegorical picture and an explanatory verse, which only together yield a moral, amorous or religious meaning.
- [Batik Pattern Tradition](https://stylogeny.com/styles/batik.md): 1600–present, Southeast Asia. The Javanese wax-resist textile tradition in which hot wax is drawn with a canting or stamped with a copper cap, then dyed in successive baths to build layered all-over patterns.
- [Đông Hồ & Hàng Trống Folk Prints](https://stylogeny.com/styles/dong-ho-folk-print.md): 1600–present, Southeast Asia. Vietnam's two classic folk-print schools, bought for Tết. Đông Hồ families press each colour from its own carved block onto giấy điệp, dó paper brushed with ground scallop shell whose streaked, faintly sparkling surface serves as the white, and print the black line last.
- [Rinpa & Saga-bon](https://stylogeny.com/styles/rinpa.md): 1600–present, East Asia. A Kyoto school of decorative design that revived the poetry and court painting of the Heian period, begun around 1600 by the calligrapher Hon'ami Kōetsu and the painter Tawaraya Sōtatsu and carried on less by teaching than by admiration across generations: Ogata Kōrin, Sakai Hōitsu, Kamisaka Sekka.
- [Sápmi Graphic Identity (Duodji & Gákti Colour Code)](https://stylogeny.com/styles/sami-duodji.md): 1600–present, Northern Europe, Eastern Europe. Duodji is Sámi handicraft: hard work in wood, horn and bone, soft work in skin and cloth; drums painted with alder-bark figures survive from the 17th and 18th centuries.
- [Ten Bamboo Studio Colour Woodblock (Douban & Gonghua)](https://stylogeny.com/styles/ten-bamboo-colour-print.md): 1626–present, East Asia. A kind of colour woodblock printing begun in late-Ming Nanjing, made so that a print looks like a brush painting.
- [Tarot de Marseille Woodcut Cards](https://stylogeny.com/styles/tarot-de-marseille.md): 1639–present, Western Europe, Southern Europe, Central Europe. The standard pattern of French tarot cards, descended from Milanese tarot and recut by card-makers in Paris, Lyon, Avignon, Dijon and Marseille from the 17th century.
- [Lubok Popular Print](https://stylogeny.com/styles/lubok.md): 1650–1920, Eastern Europe. Cheap single-sheet Russian popular prints sold at fairs and by pedlars from the later 17th century: woodcut, later engraved and lithographed pictures of saints, fables, heroes, battles and satire in which text and image share one sheet.
- [Ukiyo-e Woodblock Prints](https://stylogeny.com/styles/ukiyo-e.md): 1670–1900, East Asia. Mass-produced Edo-period woodblock prints of actors, courtesans, legends and landscapes, designed by an artist, cut and printed by specialist craftsmen and sold cheaply by commercial publishers.
- [Adinkra & Kente Symbol Systems](https://stylogeny.com/styles/adinkra-kente.md): 1700–present, Sub-Saharan Africa. The Akan textile languages of Ghana.
- [Diné (Navajo) Weaving Design](https://stylogeny.com/styles/dine-weaving.md): 1700–present, North America. The tapestry-woven design tradition of Diné (Navajo) weavers, recorded in Spanish sources from the early 18th century.
- [Northwest Coast Formline Design](https://stylogeny.com/styles/northwest-coast-formline.md): 1700–present, North America. The two-dimensional design system of the northern Northwest Coast nations, painted, carved and woven onto boxes, house fronts, robes and hats, and printed as serigraphs since the 1960s.
- [Pacific Barkcloth (Tapa) Design](https://stylogeny.com/styles/pacific-tapa.md): 1700–present, Oceania. Barkcloth beaten from paper-mulberry inner bark and decorated across Polynesia and Fiji for gift exchange at weddings, funerals and chiefly investitures.
- [Thai Yantra (Yant) Diagrams](https://stylogeny.com/styles/thai-yantra.md): 1700–present, Southeast Asia. Thai protective diagrams in which Pali formulae, written in Khom, a sacred script derived from Khmer, are packed into squares, circles, triangles, spires and the outlines of Buddhas, monks and tigers, often framed by lines of script.
- [Burmese Parabaik Painting (Konbaung Folding Books)](https://stylogeny.com/styles/burmese-parabaik.md): 1752–1885, Southeast Asia. Painted Burmese folding books of the Konbaung court and its monasteries.
- [Neoclassical Book Typography](https://stylogeny.com/styles/neoclassical-typography.md): 1757–1830, Western Europe, Southern Europe, Central Europe. The Enlightenment book stripped of Renaissance woodcut decoration.
- [Chaekgeori & Minhwa Screen Painting](https://stylogeny.com/styles/chaekgeori-minhwa.md): 1776–present, East Asia. Korean painted folding screens of the late Joseon period.
- [Edo-moji Commercial Lettering (Kanteiryū, Yose-moji, Sumō-ji)](https://stylogeny.com/styles/edo-moji.md): 1779–present, East Asia. The fat, ink-heavy brush hands that Edo's professional sign and bill writers made for the city's entertainments: Kanteiryū for kabuki signboards and playbills from 1779, yose-moji for rakugo halls, sumō-ji for sumo ranking sheets, and squarish kago-moji for votive name slips.
- [Imagerie d'Épinal & European Bilderbogen](https://stylogeny.com/styles/imagerie-epinal.md): 1796–1939, Western Europe, Central Europe. Cheap single-sheet popular prints sold by pedlars across 19th-century Europe, led by the Pellerin imagerie at Épinal and the Neuruppin Bilderbogen.
- [Hand-Painted Signage & Vernacular Lettering](https://stylogeny.com/styles/hand-painted-signage.md): 1800–present, Global / networked. Letters painted by trained sign writers on fascias, windows, walls, vehicles and showcards, from Victorian gold leaf on glass to Mexican rótulos, Indian bazaar boards and Ghanaian barbershop signs.
- [Victorian Letterpress & Wood Type](https://stylogeny.com/styles/victorian-letterpress.md): 1810–1900, Western Europe, North America. The commercial jobbing print of the industrial century: posters, playbills, auction notices and ephemera built from a flood of new display types (fat faces, Egyptians, grotesques, Tuscans and condensed wood type).
- [Bulaq (Amiriyya) Naskh Book Printing](https://stylogeny.com/styles/bulaq-naskh-printing.md): 1822–1956, Middle East & North Africa. The page of the Arabic printed book as Egypt's state press at Bulaq shaped it from 1822: justified blocks of black Naskh type on pale paper, often boxed in a ruled frame, with an ornamental headpiece on the opening page, headings set larger or in a second script such as Nastaʿlīq, and almost no pictures.
- [Kalighat Pat & Battala Bazaar Prints](https://stylogeny.com/styles/kalighat-battala.md): 1830–1930, South Asia. The bazaar art of nineteenth-century Calcutta: watercolours sold to pilgrims by patua painters at the Kalighat temple, and the cheap woodcuts and metal engravings that Battala presses printed for chapbooks and almanacs.
- [Urdu Katib Lithography](https://stylogeny.com/styles/urdu-katib-lithography.md): 1837–present, South Asia. For about a century and a half Urdu chose lithography over movable type, because metal type could not reproduce the sloping, stacked ligatures of Nastaʿlīq.
- [Persian Popular Narrative (Lithographs & Coffeehouse Painting)](https://stylogeny.com/styles/persian-popular-narrative.md): 1843–2012, Middle East & North Africa. Iran's popular picture-stories in two media.
- [Cuban Tobacco Lithography (Habilitaciones & Marquillas)](https://stylogeny.com/styles/cuban-tobacco-lithography.md): 1845–present, Latin America & Caribbean. The chromolithographed dress of Havana tobacco.
- [Fante Asafo Flags (Frankaa)](https://stylogeny.com/styles/asafo-flags.md): 1850–present, Sub-Saharan Africa. The company flags (frankaa) of the Fante asafo, the old warrior companies of Ghana's central coast, widely adopted from the mid-nineteenth century.
- [Nirnaya Sagar Devanagari Typography (Bombay Metal Type)](https://stylogeny.com/styles/nirnaya-sagar-devanagari.md): 1864–present, South Asia. Devanagari as Javaji Dadaji's Bombay type foundry (1864) and Nirnaya Sagar Press (1869) cut and printed it: upright metal type with a strong headline, cut with the punch-cutter Ranoji Aru, and enough conjunct and 'Akhand' sorts to set Sanskrit, Vedic accents and Marathi whole.
- [Indian Calendar & Bazaar Art](https://stylogeny.com/styles/calendar-art-india.md): 1878–present, South Asia. Mass-printed images of Hindu deities, epic scenes, saints, nationalist heroes and film stars, sold in bazaars and given away as business calendars, from the chromolithographs of the Calcutta Art Studio and Ravi Varma Press to Sivakasi offset.
- [Mexican Popular Graphics (Posada)](https://stylogeny.com/styles/mexican-popular-graphics.md): 1880–1917, Latin America & Caribbean. Cheap broadsheets, chapbooks and gazettes sold on the streets of Porfirian Mexico City by the publisher Antonio Vanegas Arroyo and illustrated by Manuel Manilla and José Guadalupe Posada.
- [African Wax & Fancy Print](https://stylogeny.com/styles/wax-print.md): 1880–present, Sub-Saharan Africa, Western Europe. Industrially printed cotton made for West and Central African markets, first by Dutch and British mills that imitated Javanese batik with resin resist, and later by African mills.
- [Kanga (Swahili Message Cloth)](https://stylogeny.com/styles/kanga.md): 1886–present, Sub-Saharan Africa. Printed cotton wraps worn by women of the Swahili coast and its hinterland since the late nineteenth century, bought in pairs.
- [Lotería Card Imagery (Mexican Lotería)](https://stylogeny.com/styles/loteria.md): 1887–present, Latin America & Caribbean, North America. The picture deck of Mexico's lotería, a bingo-like game of chance.
- [Fileteado Porteño](https://stylogeny.com/styles/fileteado-porteno.md): 1890–present, Latin America & Caribbean. A Buenos Aires tradition of ornamental brush painting that began around 1900 on the grey-painted trade carts of Italian immigrant coachbuilders and spread to trucks, colectivo buses, shop signs and gallery panels.
- [Bògòlanfini Mud Cloth](https://stylogeny.com/styles/bogolanfini.md): 1900–present, Sub-Saharan Africa. The mud-dyed cotton cloth of the Bamana and other Malian peoples, in which the ground rather than the motif is painted: cloth dyed yellow with n'gallama leaves is covered around each sign with fermented iron-rich mud, and the unpainted signs are then bleached pale.
- [Guna Mola](https://stylogeny.com/styles/guna-mola.md): 1900–present, Latin America & Caribbean. The reverse-appliqué blouse panels of Guna women in Panama, made by cutting through two to seven stacked layers of cotton so that every shape is ringed by echoing bands of the colours beneath.
- [Senegalese Sufi Devotional Imagery (Souwère Glass Painting and Amadou Bamba Portraits)](https://stylogeny.com/styles/senegalese-sufi-imagery.md): 1900–present, Sub-Saharan Africa. The devotional imagery of Senegal's Sufi brotherhoods, above all the Mourides: reverse paintings on glass (souwère), made in Senegal's cities since about 1900, and the murals, banners, prints and photocopies that multiply one 1913 photograph of Sheikh Amadou Bamba across Dakar and Touba.
- [Uli & Nsibidi Line and Sign Tradition](https://stylogeny.com/styles/uli-nsibidi.md): 1900–present, Sub-Saharan Africa. Two linked graphic languages of southeastern Nigeria.
- [Arnhem Land Bark Painting & Rarrk](https://stylogeny.com/styles/arnhem-land-bark-painting.md): 1912–present, Oceania. Painting in ochres on flattened stringybark by Yolŋu, Kunwinjku, Kuninjku and other clans of Arnhem Land, carrying ceremonial designs into portable form; collected from 1912, painted through art centres since the 1970s.
- [Amazonian Boat Lettering (Abridores de Letras)](https://stylogeny.com/styles/amazon-boat-lettering.md): 1925–present, Latin America & Caribbean. The painted boat names of Pará's rivers in the Brazilian Amazon, made for about a century by self-taught riverside painters (abridores de letras).
- [Egyptian Painted Film Poster](https://stylogeny.com/styles/egyptian-film-poster.md): 1932–1996, Middle East & North Africa. The painted publicity of Egyptian cinema from the early talkies to the 1990s, designed outside the studios by artist-printers such as Hassan Mazhar Gassour and printed as colour lithographs in Cairo.
- [Hand-Painted Bollywood Poster](https://stylogeny.com/styles/bollywood-poster.md): 1940–1999, South Asia. The painted publicity of Bombay's Hindi film industry, at its height from the 1940s to the 1980s.
- [Literatura de Cordel Woodcut](https://stylogeny.com/styles/cordel-woodcut.md): 1940–present, Latin America & Caribbean. The cover art of Brazil's literatura de cordel, pocket chapbooks of verse whose single picture is a small woodcut cut in soft umburana wood and printed in black above a plain letterpress title.
- [Ndebele Geometric Painting](https://stylogeny.com/styles/ndebele-painting.md): 1940–present, Sub-Saharan Africa. The mural tradition of Southern Ndebele women, who paint homestead walls and gateways, and later canvases and objects, with bold, symmetrical geometric designs.
- [Jeepney Art](https://stylogeny.com/styles/jeepney-art.md): 1946–present, Southeast Asia. The decoration of the Philippine jeepney, the shared taxi built from surplus US Army jeeps after 1945 and later from locally fabricated stainless-steel bodies by firms such as Sarao and Francisco Motors.
- [Onitsha Market Pamphlets](https://stylogeny.com/styles/onitsha-market-literature.md): 1947–1980, Sub-Saharan Africa. Cheap, stapled pamphlets of romance, advice, drama and political biography, written by students, clerks, journalists and traders and printed by jobbing letterpress shops around Onitsha Main Market in eastern Nigeria from the late 1940s.
- [Pakistani Truck Art](https://stylogeny.com/styles/pakistani-truck-art.md): 1947–present, South Asia. The total decoration of Pakistan's trucks and buses, which grew from company marks and saints' portraits painted in the late 1940s into a workshop art in which painters, metalworkers, woodcarvers and reflective-tape specialists collaborate on each vehicle.
- [West African Barbershop & Hair Salon Signs](https://stylogeny.com/styles/barbershop-sign.md): 1950–present, Sub-Saharan Africa. Hand-painted boards advertising barbershops and braiding salons across West and Central Africa, made by self-taught, often anonymous sign painters since the mid-20th century.
- [Hong Kong Neon & Beiwei Shop-Sign Lettering](https://stylogeny.com/styles/hong-kong-neon.md): 1950–present, East Asia. The night-time signscape of Hong Kong's Kowloon streets.
- [Taiwan Floral Cloth (Huabu)](https://stylogeny.com/styles/taiwan-floral-chintz.md): 1950–present, East Asia. Cheap printed cotton covered edge to edge in large, full-blown peonies with lotuses, phoenixes, dragons, mandarin ducks, small florets and auspicious emblems on saturated vermilion, bright pink or sky-blue grounds.
- [Kinngait (Cape Dorset) Inuit Printmaking](https://stylogeny.com/styles/kinngait-print.md): 1957–present, North America. Prints from the Inuit co-operative studio at Kinngait (Cape Dorset), Nunavut, with a catalogued collection every year since 1959.
- [Woodland School (Legend Painting)](https://stylogeny.com/styles/woodland-school.md): 1962–present, North America. A school of painting from northwestern Ontario, made public when Norval Morrisseau showed at Toronto's Pollock Gallery in 1962 and carried on by Ojibwe, Odawa, Oji-Cree and Cree artists such as Daphne Odjig and Carl Ray.
- [Baybayin Revival Graphics](https://stylogeny.com/styles/baybayin-revival.md): 1963–present, Southeast Asia, North America. The revival of baybayin, the precolonial Tagalog abugida, as a mark of Filipino identity.
- [Picó Sound-System Painting (Colombian Caribbean)](https://stylogeny.com/styles/pico-sound-system-art.md): 1967–present, Latin America & Caribbean. The hand-painted fronts of the picós, the giant sound systems that play dances in the barrios of Barranquilla and Cartagena.
- [Tingatinga Painting](https://stylogeny.com/styles/tingatinga.md): 1968–present, Sub-Saharan Africa. A Tanzanian popular painting school begun in Dar es Salaam by Edward Tingatinga (1932–1972), who from 1968 painted animals, birds and village scenes in glossy bicycle enamel on square hardboard ceiling boards for residents and tourists.
- [Kinshasa Popular Painting](https://stylogeny.com/styles/kinshasa-popular-painting.md): 1970–present, Sub-Saharan Africa. A school of easel painting founded in Kinshasa in the early 1970s by Chéri Samba, Moké, Chéri Chérin and Pierre Bodo, largely self-taught painters, several of them trained in Kinshasa's billboard and sign workshops.
- [Warli Painting](https://stylogeny.com/styles/warli-painting.md): 1970–present, South Asia. The ritual wall painting of the Warli, an Adivasi people of the northern Sahyadri in Maharashtra, carried onto paper and canvas from the 1970s by Jivya Soma Mashe and others.
- [Western Desert Iconography](https://stylogeny.com/styles/western-desert-iconography.md): 1971–present, Oceania. The acrylic painting movement that took form at Papunya in 1971, when men there painted the Honey Ant Dreaming on the school wall and then on board, carrying an older practice of sand, body and ceremonial designs into lasting form. 'Western Desert' is an umbrella name: the movement also includes Warlpiri, Anmatyerre and Arrernte painters of the Central Desert.
- [Pardhan Gond Painting (Jangarh Kalam)](https://stylogeny.com/styles/gond-painting.md): 1981–present, South Asia. Painting on paper and canvas by Pardhan Gond artists of Patangarh and Bhopal, begun when Bharat Bhavan, Bhopal, recruited Jangarh Singh Shyam in 1981; the style was later named Jangarh Kalam after him.
- [Ghanaian Movie Poster](https://stylogeny.com/styles/ghana-movie-poster.md): 1985–2005, Sub-Saharan Africa. Hand-painted posters commissioned by Ghana's mobile video clubs from about 1985, painted by apprenticed sign painters on stitched flour sacks to advertise VHS screenings of Hollywood, Hong Kong, Nigerian and Indian films.
- [Madinah Mushaf (King Fahd Complex Qur'an Page)](https://stylogeny.com/styles/madinah-mushaf.md): 1985–present, Middle East & North Africa, Global / networked. One fixed page for the Qur'an across much of the Muslim world: Uthman Taha's fully vowelled Naskh in fifteen justified lines, written so that every page ends at the end of a verse (the late Ottoman âyet-berkenar layout), inside a floral frame, with sura titles in framed cartouches and verse numbers in small round medallions.
- [Ghanaian Funeral Poster & Banner](https://stylogeny.com/styles/ghanaian-funeral-poster.md): 1990–present, Sub-Saharan Africa. The printed death announcements of southern Ghana, also found elsewhere in West Africa: colour posters, mostly A2, pasted on walls, trees, poles and vehicles, and by the mid-2010s large PVC banners hung at the family house.
- [Matatu & Nganya Art](https://stylogeny.com/styles/matatu-art.md): 1990–present, Sub-Saharan Africa. The commissioned livery of Kenya's privately owned minibus taxis, at its most elaborate the Nairobi nganya.
- [Nigerian Pentecostal Crusade Poster & Billboard](https://stylogeny.com/styles/pentecostal-crusade-poster.md): 1990–present, Sub-Saharan Africa. The roadside adverts of Nigeria's Pentecostal and independent churches: billboards, banners and posters on poles, walls and bridges announcing crusades, revivals, conventions and night vigils.
- [Torres Strait Islander Linocut](https://stylogeny.com/styles/torres-strait-linocut.md): 1991–present, Oceania. Relief prints by Torres Strait Islander artists of Zenadth Kes, which grew from an Indigenous visual art course at Cairns College of TAFE by 1991 and the Mualgau Minaral collective on Mua (Moa) Island.
- [Nollywood Video Jacket & Film Poster](https://stylogeny.com/styles/nollywood-video-sleeve.md): 1992–present, Sub-Saharan Africa. The cover and poster art of Nigeria's home-video boom, from Living in Bondage (1992) on.
- [Tamil Nadu Flex Banners](https://stylogeny.com/styles/tamil-flex-banner.md): 2000–present, South Asia. The digitally printed vinyl boards, locally called flex banners, that fan clubs, party cadres, businesses and families have put up along the roads of Tamil Nadu since about 2000, as flex displaced hand-painted cinema banners and cut-outs over the following decade.
- [Contemporary Chinese Book Design ('Most Beautiful Books of China')](https://stylogeny.com/styles/chinese-contemporary-book-design.md): 2003–present, East Asia. Chinese book design since 2003, when Shanghai founded the yearly 'Most Beautiful Books of China' award, whose winners go on to Leipzig.
- [Neo-Andean Architecture (Cholets)](https://stylogeny.com/styles/neo-andean-cholet.md): 2005–present, Latin America & Caribbean. The facades and party halls of El Alto, Bolivia, begun by the Aymara builder-architect Freddy Mamani in 2005 for a new Aymara merchant class.
- [Arts & Crafts Movement](https://stylogeny.com/styles/arts-and-crafts.md): 1860–1920, Western Europe, North America. A British-led reform movement that answered industrial shoddiness with honest handcraft, medieval models and the ideal of joy in labour.
- [Japonisme](https://stylogeny.com/styles/japonisme.md): 1860–1910, Western Europe, North America, Central Europe. The Western absorption of Japanese woodblock prints, textiles and crafts after Japan reopened to trade in the 1850s.
- [Celtic Revival Illumination & Lettering](https://stylogeny.com/styles/celtic-revival.md): 1861–1951, Western Europe. Ornament and lettering of the Celtic Revival in Ireland, Scotland and the Isle of Man, modelled on Insular gospel books such as Kells and on carved stone crosses.
- [Norwegian and Finnish National Romantic Graphics (Munthe & Karelianism)](https://stylogeny.com/styles/nordic-national-romanticism.md): 1880–1922, Northern Europe. The flat, decorative branch of Norway's and Finland's national romanticism, which turned Viking carving, the sagas, the Kalevala and old peasant weaving into modern ornament.
- [Art Nouveau](https://stylogeny.com/styles/art-nouveau.md): 1890–1910, Western Europe, Central Europe, Southern Europe, North America. An international 'new art' that sought a modern style free of historical revival, drawing its forms from plant growth and the female figure.
- [Glasgow Style](https://stylogeny.com/styles/glasgow-style.md): 1890–1914, Western Europe. Glasgow's distinctive answer to Art Nouveau, formed around Charles Rennie Mackintosh, Margaret and Frances Macdonald and Herbert MacNair at the Glasgow School of Art.
- [Nieuwe Kunst (Dutch Art Nouveau)](https://stylogeny.com/styles/nieuwe-kunst.md): 1892–1914, Western Europe. The Dutch branch of Art Nouveau, seen mostly in book covers, vignettes and posters.
- [German Book Art Movement (Buchkunstbewegung)](https://stylogeny.com/styles/buchkunstbewegung.md): 1895–1933, Central Europe. The German reform of the book, from the magazine Pan (1895) to the private presses that ended around 1933.
- [Vienna Secession](https://stylogeny.com/styles/vienna-secession.md): 1897–1918, Central Europe. The Viennese break with academic art led by Gustav Klimt, Koloman Moser, Josef Hoffmann and Alfred Roller, which pulled Art Nouveau toward the square, the grid and the flat plane.
- [Mir iskusstva Book Art](https://stylogeny.com/styles/mir-iskusstva.md): 1898–1927, Eastern Europe. The graphic idiom of the St Petersburg World of Art circle (journal 1898–1904, exhibitions until Paris 1927) and the book artists around it.
- [Santiniketan & Bengal School Graphics](https://stylogeny.com/styles/santiniketan-graphics.md): 1905–1954, South Asia. The nationalist, anti-academic art of Calcutta and Santiniketan, which turned from oil-paint naturalism and chromolithograph gloss to Indian and pan-Asian sources.
- [Bezalel School](https://stylogeny.com/styles/bezalel-school.md): 1906–1929, Middle East & North Africa. The house style of the Bezalel School of Arts and Crafts, opened in Jerusalem by Boris Schatz in 1906 with E.
- [Taishō Roman & Lyrical Illustration](https://stylogeny.com/styles/taisho-roman.md): 1910–1940, East Asia. The lyrical illustration (jojōga) of late-Meiji to early-Shōwa Japan, led by Takehisa Yumeji: willowy, large-eyed women in kimono drawn with an Art Nouveau contour, set among camellias and kimono patterns and lettered by hand.
- [Solarpunk](https://stylogeny.com/styles/solarpunk.md): 2014–present, Global / networked, North America, Latin America & Caribbean. Hopeful eco-futurist imagery born online.
- [Expressionist Woodcut Graphics](https://stylogeny.com/styles/expressionist-graphics.md): 1905–1925, Central Europe, Western Europe. The graphic arm of German Expressionism, from Die Brücke in Dresden (1905) to the Berlin journals Der Sturm and Die Aktion and Frans Masereel's woodcut novels.
- [Cubist Pictorial Space](https://stylogeny.com/styles/cubism.md): 1907–1925, Western Europe. The pictorial revolution of Picasso and Braque that shattered single-point perspective into overlapping, faceted planes seen from several viewpoints at once.
- [Italian Futurism](https://stylogeny.com/styles/futurism.md): 1909–1944, Southern Europe. Launched by Marinetti's 1909 manifesto, Futurism glorified speed, machines, the city and war, and turned the printed page into an explosive, noisy field.
- [Russian Futurist Book](https://stylogeny.com/styles/russian-futurist-book.md): 1910–1920, Eastern Europe. The cheap, small-run books of the Russian Cubo-Futurist poets and painters, from Kruchenykh and Khlebnikov to Goncharova, Larionov and Rozanova.
- [Vorticism & BLAST Typography](https://stylogeny.com/styles/vorticism.md): 1914–1920, Western Europe. London's short-lived rival to Futurism, launched by Wyndham Lewis with BLAST (dated 20 June 1914; War Number, July 1915).
- [Suprematism](https://stylogeny.com/styles/suprematism.md): 1915–1925, Eastern Europe. Kazimir Malevich's non-objective art, unveiled with the Black Square at the 0.10 exhibition in Petrograd in 1915, reduced painting to pure geometric planes floating in white, infinite space.
- [Dada](https://stylogeny.com/styles/dada.md): 1916–1924, Central Europe, Western Europe. Born in wartime Zurich at the Cabaret Voltaire in 1916 and spreading to Berlin, Hanover, Cologne and Paris, Dada used chance, absurdity and provocation against the culture that had produced the war.
- [Russian Constructivism](https://stylogeny.com/styles/constructivism.md): 1917–1934, Eastern Europe. Constructivism rejected art for art's sake in favour of the artist-engineer building useful things for the new Soviet society.
- [De Stijl](https://stylogeny.com/styles/de-stijl.md): 1917–1931, Western Europe. A Dutch movement formed around Theo van Doesburg's journal De Stijl and Piet Mondrian's Neoplasticism, which sought universal harmony through the most elementary means: horizontal and vertical lines, rectangles, the three primaries and black, white and grey.
- [Kultur-Lige & Yiddish Avant-Garde Book Design](https://stylogeny.com/styles/kultur-lige-book.md): 1917–1924, Eastern Europe, Central Europe. The Yiddish modernist book of the Kultur-Lige, the secular Jewish culture league founded in Kyiv in 1918, and its circle: El Lissitzky, Issachar Ber Ryback, Iosif Chaikov, Boris Aronson and others, who sought a new Jewish art in the shtetl synagogues and tombstones they had recorded and in Cubo-Futurism and Suprematism.
- [Wendingen & Amsterdam School Typography](https://stylogeny.com/styles/wendingen.md): 1918–1932, Western Europe. The graphic language of Wendingen (1918–1932), monthly of the Amsterdam architects' society Architectura et Amicitia, and its editor H.
- [Bauhaus](https://stylogeny.com/styles/bauhaus.md): 1919–1933, Central Europe. The German school founded by Walter Gropius in 1919 moved from Expressionist craft ideals to a programme of 'art and technology' after 1923, when Moholy-Nagy, Herbert Bayer and Joost Schmidt made its printing and advertising workshops a laboratory for functional communication.
- [ROSTA Windows](https://stylogeny.com/styles/rosta-windows.md): 1919–1922, Eastern Europe. Hand-stencilled satirical news posters made by the Russian Telegraph Agency during the Civil War and hung in empty shop windows, first in Moscow, then in Petrograd and provincial towns.
- [Estridentismo (Stridentist) Graphics](https://stylogeny.com/styles/estridentismo-graphics.md): 1921–1927, Latin America & Caribbean. Mexico's first avant-garde (1921-27), launched when Manuel Maples Arce pasted his manifesto Actual No. 1 on Mexico City walls.
- [Brazilian Modernismo Graphics (Klaxon and the Semana de 22)](https://stylogeny.com/styles/brazilian-modernismo-graphics.md): 1922–1929, Latin America & Caribbean. The print side of São Paulo's Modernismo (1922-29), set in jobbing print shops.
- [Czech Poetist Book Design (Devětsil)](https://stylogeny.com/styles/czech-poetism.md): 1922–1938, Central Europe. The book and magazine design of the Czech Devětsil circle, where Karel Teige and his colleagues turned constructivist tools (asymmetry, sans and slab capitals, heavy bars, photomontage) toward Poetism's lyrical celebration of travel, cinema, jazz and the circus.
- [Leningrad Avant-Garde Picture Book](https://stylogeny.com/styles/soviet-picture-book.md): 1922–1936, Eastern Europe. Thin, large picture books made in Petrograd/Leningrad from 1922 to the mid-1930s for Raduga and the Gosizdat children's department led by Samuil Marshak, with Vladimir Lebedev as art editor.
- [Mavo](https://stylogeny.com/styles/mavo.md): 1923–1925, East Asia. Tokyo's anarchist avant-garde, founded in July 1923 by Murayama Tomoyoshi, back from a year in Berlin, with four former Futurists, and its magazine MAVO (seven issues, July 1924 to August 1925).
- [Die Neue Typographie](https://stylogeny.com/styles/new-typography.md): 1923–1940, Central Europe, Western Europe. The programme that turned avant-garde experiment into a functional typographic method, named by Moholy-Nagy in 1923 and codified in Jan Tschichold's 'elementare typographie' (1925) and Die neue Typographie (1928).
- [Surrealist Graphics](https://stylogeny.com/styles/surrealism.md): 1924–1960, Western Europe, North America. Launched by André Breton's 1924 manifesto, Surrealism sought the marvellous in dreams, chance and the unconscious.
- [AIZ Political Photomontage (Heartfield)](https://stylogeny.com/styles/aiz-political-photomontage.md): 1930–1938, Central Europe. The political photomontage John Heartfield made for the communist weekly AIZ from 1930 to 1938, in Berlin and, from 1933, in Prague exile.
- [Chinese Modern Woodcut Movement](https://stylogeny.com/styles/chinese-modern-woodcut.md): 1931–1949, East Asia. The leftist print movement launched by Lu Xun's 1931 Shanghai woodcut workshop, which made the self-cut black-and-white woodcut China's art of national crisis and revolution.
- [Belle Époque Lithographic Poster](https://stylogeny.com/styles/belle-epoque-poster.md): 1866–1914, Western Europe. The large colour lithographic street poster that turned Paris into an open-air gallery, from Jules Chéret's first posters of 1866 to Leonetto Cappiello before the First World War.
- [Spanish Bullfight Poster (Cartel Taurino)](https://stylogeny.com/styles/cartel-taurino.md): 1879–present, Southern Europe. The Spanish bullfight poster in its illustrated form, from Marcelino de Unceta's lithographs (from 1879) to the Valencian house of Ortega, which supplied rings across Spain.
- [Simplicissimus Satirical Style (Munich)](https://stylogeny.com/styles/simplicissimus.md): 1896–1944, Central Europe. The house style of the Munich satirical weekly Simplicissimus, set by Th.
- [Plakatstil / Sachplakat](https://stylogeny.com/styles/plakatstil.md): 1905–1920, Central Europe. The German 'object poster' launched by Lucian Bernhard's Priester match poster and printed by Berlin's Hollerbaum & Schmidt.
- [Art Deco](https://stylogeny.com/styles/art-deco.md): 1910–1939, Western Europe, North America, Global / networked. The glamorous modern style named after the 1925 Paris Exposition des Arts Décoratifs, which disciplined ornament into geometry: sunbursts, chevrons, stepped forms and sleek stylised figures rendered in lacquer-smooth colour with metallic accents.
- [Shanghai Modern & Yuefenpai](https://stylogeny.com/styles/shanghai-modern.md): 1910–1949, East Asia. The commercial art of treaty-port Shanghai.
- [Hungarian Revolutionary Poster](https://stylogeny.com/styles/hungarian-activist-poster.md): 1912–1919, Central Europe. The political posters of Hungary's revolutions.
- [Basel Object Poster (Swiss Sachplakat)](https://stylogeny.com/styles/basel-object-poster.md): 1919–1955, Central Europe. The Swiss descendant of the German object poster, made in Zurich and above all Basel from 1919 to the early 1950s.
- [Italian Fascist Graphics (Romanità & Exhibition Photomontage)](https://stylogeny.com/styles/italian-fascist-graphics.md): 1921–1943, Southern Europe. The visual language of Italian Fascism, which turned modernist means to a cult of Rome and of the Duce.
- [Republican Chinese Book Cover Design (Lu Xun & Tao Yuanqing)](https://stylogeny.com/styles/republican-china-book-design.md): 1923–1949, East Asia. The covers of China's New Literature.
- [Harlem Renaissance Graphic Art](https://stylogeny.com/styles/harlem-renaissance-graphics.md): 1925–1940, North America. The illustration, cover and jacket art of the New Negro movement, set by Aaron Douglas after he moved to Harlem in 1925 and studied with Winold Reiss.
- [Lianhuanhua Picture-Story Books](https://stylogeny.com/styles/lianhuanhua.md): 1925–1990, East Asia. Palm-sized Chinese picture books, about three by five inches, that tell a novel, opera, film or revolutionary story in hundreds of single framed drawings, one to a page, each with a short caption.
- [Early Turkish Republican Graphic Design](https://stylogeny.com/styles/turkish-republican-graphics.md): 1925–1960, Middle East & North Africa. The pictorial poster, label and ticket art of the young Turkish Republic, led by İhap Hulusi Görey after his Munich training in Ludwig Hohlwein's orbit, with Münif Fehim Özarman and, after 1943, Kenan Temizan.
- [Australian Travel Poster (ANTA Era)](https://stylogeny.com/styles/australian-travel-poster.md): 1929–1959, Oceania. The pictorial posters that the Australian National Travel Association (ANTA, 1929), state tourist bureaux, railways and shipping lines commissioned to sell Australia abroad and at home.
- [Filipino Komiks](https://stylogeny.com/styles/filipino-komiks.md): 1929–1999, Southeast Asia. The Philippines' newsstand comics magazines, from Kenkoy in Liwayway (1929) and Ace's Pilipino Komiks (1947) to the fall of the Roces titles in the late 1990s.
- [Giallo Mondadori Covers (I Libri Gialli)](https://stylogeny.com/styles/giallo-mondadori.md): 1929–present, Southern Europe. The cover system of Mondadori's crime series, Milan, from I Libri Gialli of 1929 to Il Giallo Mondadori today.
- [Ligne Claire (Franco-Belgian Clear Line)](https://stylogeny.com/styles/ligne-claire.md): 1929–present, Western Europe, Southern Europe. The comic drawing style of Hergé's Tintin and the Brussels school, named 'klare lijn' by Joost Swarte in 1977.
- [Mexican Calendar Chromo (Cromos calendáricos)](https://stylogeny.com/styles/mexican-calendar-chromo.md): 1930–1970, Latin America & Caribbean. Mexico's give-away advertising calendars, at their height from the 1930s to the late 1960s.
- [Streamline Moderne](https://stylogeny.com/styles/streamline-moderne.md): 1930–1945, North America. The late, chiefly American phase of Art Deco, in which aerodynamic science became a visual language for a Depression-era culture hungry for progress.
- [Socialist Realist Propaganda Poster](https://stylogeny.com/styles/socialist-realism.md): 1932–1989, Eastern Europe, Central Europe, East Asia, Southeast Asia. The official art doctrine of the Soviet Union from 1932, later exported across the socialist world, which replaced avant-garde experiment with legible, heroic realism 'national in form, socialist in content'.
- [Estado Novo Folk Modernism (SPN)](https://stylogeny.com/styles/estado-novo-folk-modernism.md): 1933–1949, Southern Europe. The official image of Salazar's Estado Novo, shaped by António Ferro's Secretariado de Propaganda Nacional (SPN, 1933; SNI from 1944).
- [American Four-Colour Comic Book (Golden to Bronze Age)](https://stylogeny.com/styles/american-comic-book.md): 1934–1993, North America. The American newsstand comic book from Famous Funnies (1934) and Action Comics #1 (1938) through the Golden, Silver and Bronze Ages, and past the Bronze Age's end in 1985 until computer colour replaced hand separations in the early 1990s.
- [Hebrew Poster Lettering & Early Israeli State Design](https://stylogeny.com/styles/israeli-state-modernism.md): 1934–1974, Middle East & North Africa. The commercial and state graphics of the Jewish community in Mandate Palestine and early Israel, made in Tel Aviv from 1934 by designers who had trained in Berlin and Vienna: Franz Krausz, Otte Wallish and the Shamir brothers.
- [Tiki Pop (Polynesian Pop)](https://stylogeny.com/styles/tiki-pop.md): 1934–present, North America. The mainland American fantasy of the South Seas, begun by Don the Beachcomber's Hollywood bar (about 1934) and Trader Vic's in Oakland and at its height in the Polynesian restaurants of the 1950s and 60s.
- [WPA Silkscreen Posters](https://stylogeny.com/styles/wpa-poster.md): 1935–1943, North America. Posters made by the Federal Art Project of the Works Progress Administration to promote health campaigns, education, theatre, travel and the national parks during the Depression.
- [Spanish Civil War Poster](https://stylogeny.com/styles/spanish-civil-war-poster.md): 1936–1939, Southern Europe. The poster war waged by the Spanish Republic, its unions and its anarchist, communist and socialist parties against Franco's uprising.
- [Taller de Gráfica Popular](https://stylogeny.com/styles/taller-grafica-popular.md): 1937–1977, Latin America & Caribbean. A Mexico City printmaking collective founded in 1937 around Leopoldo Méndez, Pablo O'Higgins and Luis Arenal to put art at the service of popular and anti-fascist struggles.
- [American Mid-Century Modernism](https://stylogeny.com/styles/american-modernism.md): 1940–1970, North America. The American synthesis of European avant-garde form with wit, pragmatism and commercial clients, led by Paul Rand, Alvin Lustig, Lester Beall, Bradbury Thompson and Saul Bass.
- [Bengali Modernist Book Cover (Prachchhad)](https://stylogeny.com/styles/bengali-book-cover.md): 1943–present, South Asia. A literary book-jacket culture that began at Calcutta's Signet Press in 1943, where Satyajit Ray and later Purnendu Pattrea made the hand-drawn Bengali title the main image of the cover.
- [Googie & Atomic Age](https://stylogeny.com/styles/googie.md): 1945–1965, North America. The exuberant commercial modernism of post-war American roadside culture (coffee shops, motels, car washes, bowling alleys and neon signs), named in 1952 by critic Douglas Haskell after John Lautner's Googie's coffee shop in Los Angeles (1949).
- [Vietnamese Propaganda Poster (Tranh cổ động)](https://stylogeny.com/styles/vietnamese-propaganda-poster.md): 1945–present, Southeast Asia. The state poster art of Vietnam from the 1945 August Revolution to today.
- [Puerto Rican Silkscreen Poster (DIVEDCO & ICP)](https://stylogeny.com/styles/puerto-rican-silkscreen-poster.md): 1946–1989, Latin America & Caribbean. The hand-pulled silkscreen poster of Puerto Rico, begun by Irene Delano's workshop in 1946–47 and grown in the government's Division of Community Education (DIVEDCO, 1949) and the Instituto de Cultura Puertorriqueña's print workshop under Lorenzo Homar (1957–73).
- [Escuela Bruguera (Spanish Humour Comics)](https://stylogeny.com/styles/escuela-bruguera.md): 1947–1986, Southern Europe. The house style of Editorial Bruguera's humour cartoonists in Barcelona from 1947 to 1986, named the 'Escuela Bruguera' by Terenci Moix in 1968.
- [Fotoromanzo (Italian Photo-Romance)](https://stylogeny.com/styles/fotoromanzo.md): 1947–present, Southern Europe, Western Europe, Latin America & Caribbean. The photo-romance of the Italian women's weeklies: a melodrama told in staged photographs, first printed by Il mio sogno and Bolero Film in May 1947 and copied from France to Brazil.
- [Story Manga (Postwar Japanese Comics)](https://stylogeny.com/styles/story-manga.md): 1947–present, East Asia, Global / networked. The black-and-white narrative comic of postwar Japan, from Tezuka Osamu's Shin Takarajima (1947) to the weekly boys' magazines of 1959 and 1968 and the paperbacks that collect them.
- [Argentine Adventure Historieta (Oesterheld–Breccia)](https://stylogeny.com/styles/argentine-historieta.md): 1948–1996, Latin America & Caribbean. The adult adventure comics of Buenos Aires newsstand magazines, from Misterix (1948) and Oesterheld's Hora Cero (1957) to Skorpio and Fierro; the humour line of Patoruzú, Rico Tipo and Mafalda is another tradition.
- [Bonelli Fumetto (Italian Popular Adventure Comics)](https://stylogeny.com/styles/bonelli-fumetto.md): 1948–present, Southern Europe. The house format of Milan's Bonelli publishing house and its imitators (Tex, Zagor, Dylan Dog, Nathan Never): monthly newsstand paperbacks of 16 x 21 cm with about a hundred black-and-white pages, each a long episode of a serial hero.
- [French Post-War Visual-Gag Poster (Savignac, Villemot, Morvan)](https://stylogeny.com/styles/french-gag-poster.md): 1948–1979, Western Europe. The humorous street poster of post-war Paris, which took off in 1949 when Raymond Savignac and Bernard Villemot showed their rejected projects together and Savignac's Monsavon cow, its udder filling a bar of soap, went up on the walls.
- [Polish Poster School](https://stylogeny.com/styles/polish-poster-school.md): 1950–1990, Eastern Europe. A painterly, metaphorical poster culture that flourished in communist Poland, chiefly for film, theatre, opera and circus.
- [Drum Magazine & Sophiatown Photojournalism](https://stylogeny.com/styles/drum-magazine.md): 1951–1965, Sub-Saharan Africa. The picture magazine of Black urban Africa in the 1950s.
- [Cairo–Beirut Arab Modernist Book & Periodical Design](https://stylogeny.com/styles/cairo-beirut-book-design.md): 1952–1990, Middle East & North Africa. The illustrated book, magazine and children's-book culture that ran from Cairo's post-1952 publishing houses to the Arab nationalist and leftist presses of Beirut.
- [West German Conceptual Film & Culture Poster (Hillmann and Rambow)](https://stylogeny.com/styles/neue-filmkunst-poster.md): 1953–1990, Central Europe. The art-film and culture poster Hans Hillmann developed from 1953 for the West German distributors Neue Filmkunst and Atlas Film, which his Kassel student Gunter Rambow took with Gerhard Lienemeyer into staged photo posters for theatre, publishers and protest.
- [Push Pin Style](https://stylogeny.com/styles/push-pin.md): 1954–1980, North America. The eclectic illustrative style of New York's Push Pin Studios, founded by Seymour Chwast, Milton Glaser and Edward Sorel.
- [Zagreb School of Animated Film](https://stylogeny.com/styles/zagreb-animation.md): 1954–1980, Southern Europe, Central Europe. The modernist animation of Zagreb Film's Studio for Animated Film, grown from reduced-animation advertisements of 1954-1955 and named the 'Zagreb school' by Georges Sadoul and André Martin after Cannes 1958.
- [Arab Children's Comic Magazines (Samir to Majid)](https://stylogeny.com/styles/arab-childrens-comic-magazines.md): 1956–present, Middle East & North Africa. Arabic children's comics weeklies, from Dar al-Hilal's Samir in Cairo (1956) to Abu Dhabi's Majid (1979), mixing translated Western strips with house characters by Egyptian, Lebanese, Armenian and European artists.
- [Chinese National-Style Animation (Shanghai Animation Film Studio)](https://stylogeny.com/styles/chinese-national-style-animation.md): 1956–1989, East Asia. The 'national style' of the Shanghai Animation Film Studio, which turned from Disney and Soviet models to Chinese media: Peking-opera masks and movement, paper-cut and folded-paper figures, mural and New Year print colour and, from 1960, ink-wash painting set in motion after Qi Baishi and Li Keran.
- [Thaw Modernism (Soviet and Czechoslovak)](https://stylogeny.com/styles/thaw-modernism.md): 1956–1968, Eastern Europe, Central Europe, Northern Europe. The light, stylised modernism that replaced Socialist Realist illusionism and Stalinist pomp in Soviet and Czechoslovak graphic and applied design, from the 1956 Secret Speech, the 1957 Moscow youth festival and Expo 58 to the crushing of the Prague Spring in 1968 (a political cut-off; the manner ran on into the 1970s).
- [Shōjo Manga (Japanese Girls' Comics)](https://stylogeny.com/styles/shojo-manga.md): 1958–present, East Asia, Global / networked. The look of Japan's girls' comics (strictly a readership, not a style), which Takahashi Macoto fixed in 1958 from the lyrical illustration (jojōga) of Nakahara Jun'ichi and the Year 24 Group remade in the 1970s.
- [Cuban Revolutionary Poster (OSPAAAL & ICAIC)](https://stylogeny.com/styles/cuban-poster.md): 1960–1990, Latin America & Caribbean. The poster culture of revolutionary Cuba, produced for the film institute ICAIC and the solidarity organisation OSPAAAL.
- [Greek Tourism Modernism (EOT)](https://stylogeny.com/styles/greek-tourism-modernism.md): 1960–1974, Southern Europe. The modernist image of Greece made for the National Tourism Organisation (EOT) by Michalis Katzourakis, its art adviser in 1960-1967, and by Frederick Carabott, who advised it until 1967; in 1962 the two also founded the K&K Athens Advertising Centre.
- [Phototype Expressive Typography (Lubalin & U&lc)](https://stylogeny.com/styles/lubalin-typographics.md): 1962–1985, North America. The display typography of the phototype era, led in New York by Herb Lubalin, his lettering partners John Pistilli, Tom Carnase and Tony DiSpigna, and the International Typeface Corporation.
- [Rorke's Drift Linocut](https://stylogeny.com/styles/rorkes-drift-print.md): 1962–1982, Sub-Saharan Africa. The prints of the Lutheran art centre that Swedish teachers Peder and Ulla Gowenius started at Ceza Hospital in 1962 and moved to Rorke's Drift in 1963: under apartheid, which denied Black South Africans formal fine-art education, the chief training ground for many Black artists.
- [Palestinian Resistance Poster](https://stylogeny.com/styles/palestinian-resistance-poster.md): 1965–1993, Middle East & North Africa. The poster culture of the Palestinian national movement after 1965, issued by the PLO and its factions from Beirut and other Arab capitals for refugee camps, homes and solidarity audiences abroad.
- [Amar Chitra Katha Comics](https://stylogeny.com/styles/amar-chitra-katha.md): 1967–present, South Asia. The Bombay comic-book series that from 1967 retold Hindu myth and epic, Buddhist and Jain tales, saints, folk legends, the jests of the court wits Birbal and Tenali Raman, and Indian history for children, in English and Indian languages, with well over 500 titles by the early 1990s.
- [Chilean Unidad Popular & Nueva Canción Graphics](https://stylogeny.com/styles/chilean-unidad-popular.md): 1967–1973, Latin America & Caribbean. The graphics of the Nueva Canción Chilena and Allende's Unidad Popular, 1967–1973.
- [Pop Achorado (Peruvian Agrarian Reform Posters)](https://stylogeny.com/styles/pop-achorado.md): 1969–1975, Latin America & Caribbean. Posters for the Peruvian military government's agrarian reform, made in Lima from 1969 by Jesús Ruiz Durand and colleagues at the state's reform publicity office.
- [Turkish Weekly Humour Magazines (Gırgır to Uykusuz)](https://stylogeny.com/styles/turkish-humour-magazines.md): 1972–2025, Middle East & North Africa. Istanbul's weekly cartoon magazines, from the Aral brothers' Gırgır (1972), which sold up to about half a million copies, through the chain of breakaways that followed it: Limon, LeMan, Penguen and Uykusuz.
- [Ethiopian Revolutionary Poster (Derg Era)](https://stylogeny.com/styles/ethiopian-revolutionary-poster.md): 1974–1991, Sub-Saharan Africa. The poster and mural art of the Derg military government and its successor, Mengistu's People's Democratic Republic of Ethiopia (1974–1991), made mostly by teachers and students of the Addis Ababa School of Fine Arts.
- [Métal hurlant Science-Fiction Comics (Mœbius, Druillet & Les Humanoïdes Associés)](https://stylogeny.com/styles/metal-hurlant.md): 1974–1987, Western Europe, North America. The adult science-fiction comics of Métal hurlant, the Paris magazine founded in 1974 by Mœbius, Philippe Druillet, Jean-Pierre Dionnet and Bernard Farkas.
- [Lebanese Civil War Party Poster](https://stylogeny.com/styles/lebanese-civil-war-poster.md): 1975–1990, Middle East & North Africa. The posters that some twenty parties and militias pasted on the walls of Beirut and other towns between 1975 and 1990, marking each quarter as one faction's territory.
- [South African Resistance Poster](https://stylogeny.com/styles/anti-apartheid-poster.md): 1978–1994, Sub-Saharan Africa. The posters of the struggle against apartheid, from the exiled Medu Art Ensemble in Gaborone to the community workshops that served the United Democratic Front and the unions in the 1980s.
- [Iranian Revolutionary & Sacred Defence Poster](https://stylogeny.com/styles/iranian-revolutionary-poster.md): 1978–1988, Middle East & North Africa. Posters, murals and stamps of the 1978–79 Iranian Revolution and the 1980–88 war with Iraq, which fused the red-white-black international revolutionary poster with Persian miniature and coffeehouse narrative painting.
- [City Pop Illustration](https://stylogeny.com/styles/city-pop-illustration.md): 1979–present, East Asia, Global / networked. The painted look of Japanese city pop record sleeves and magazine covers, fixed by Hiroshi Nagai's sleeve for Eiichi Ohtaki's A Long Vacation (1981) and Eizin Suzuki's for Tatsuro Yamashita's For You (1982).
- [L'Association and French Alternative Comics](https://stylogeny.com/styles/l-association-comics.md): 1990–present, Western Europe. The black-and-white auteur comics of L'Association, the Paris publisher founded by seven cartoonists in 1990, and the 1990s small-press scene it led.
- [Polish Information Picture Book (Dwie Siostry)](https://stylogeny.com/styles/polish-picture-book-renaissance.md): 2008–present, Eastern Europe. Mostly large-format information picture books made since 2008 by the Warsaw publisher Dwie Siostry with young illustrators led by Aleksandra and Daniel Mizieliński, graduates of the city's Academy of Fine Arts: atlases, cross-sections, labyrinths, activity books and wordless seek-and-find board books.
- [Ukrainian Wartime Graphics (Saint Javelin, War Stamps and Be Brave Like Ukraine)](https://stylogeny.com/styles/ukrainian-wartime-graphics.md): 2022–present, Eastern Europe, Global / networked. The graphics of Ukraine's defence since Russia's full-scale invasion in February 2022, made by the state, the national post, agencies, illustrators and volunteers at home and abroad.
- [London Transport Design](https://stylogeny.com/styles/london-transport-design.md): 1908–1966, Western Europe. The design programme Frank Pick built for London's Underground from 1908 and the London Passenger Transport Board (1933–40), continued by Harold Hutchison (1947–66).
- [Isotype Pictorial Statistics](https://stylogeny.com/styles/isotype.md): 1925–1971, Central Europe, Western Europe. A method of visual education developed by Otto Neurath, Marie Neurath (Reidemeister) and Gerd Arntz in Red Vienna from 1925, which turns statistics into rows of identical pictograms where a greater quantity is shown by more signs, never by bigger ones.
- [Scandinavian Functionalism](https://stylogeny.com/styles/scandinavian-functionalism.md): 1930–present, Northern Europe. Nordic functionalism (funkis) arrived in graphic form with Sigurd Lewerentz's posters and winged emblem for the 1930 Stockholm Exhibition.
- [Milanese Industrial Modernism (Olivetti, Pirelli, Studio Boggeri)](https://stylogeny.com/styles/milanese-industrial-modernism.md): 1933–1975, Southern Europe. The Milan-centred school that married Bauhaus- and Swiss-trained discipline with Italian painterly wit for enlightened industrial patrons such as Olivetti, Pirelli and La Rinascente.
- [Nippon Kōbō & Tōhōsha Photo-Propaganda Magazines (NIPPON & FRONT)](https://stylogeny.com/styles/nippon-kobo.md): 1933–1945, East Asia. Luxury photo-propaganda magazines that imperial Japan sent abroad, 1934–45.
- [Penguin Paperback Design (Three Bands to the Marber Grid)](https://stylogeny.com/styles/penguin-paperback.md): 1935–1972, Western Europe. The cover system of Penguin Books, London, from 1935 until Germano Facetti left in 1972.
- [UPA & Cartoon Modern](https://stylogeny.com/styles/upa-cartoon-modern.md): 1944–1960, North America. The modern cartoon of United Productions of America (UPA) and the 1950s films, commercials and books it inspired.
- [Machine-Age Simplified Arabic Type](https://stylogeny.com/styles/simplified-arabic-type.md): 1947–present, Middle East & North Africa. Arabic redrawn for the machine rather than the reed pen.
- [Hurufiyya Calligraphic Modernism](https://stylogeny.com/styles/hurufiyya.md): 1949–present, Middle East & North Africa. A pan-Arab and Iranian modern-art movement, begun by Madiha Omar in the late 1940s, that freed the letters of the Arabic script from text and used them as abstract visual units.
- [Japanese Postwar Modernism](https://stylogeny.com/styles/japanese-postwar-modern.md): 1950–1990, East Asia. Building on the New Typography that Hiromu Hara and the Nippon Kobo circle had absorbed in the 1930s, Japan's postwar graphic designers fused the grid, sans-serif and objective photography of European modernism with indigenous traditions of family crests (kamon), asymmetry and charged emptiness (ma).
- [International Typographic Style](https://stylogeny.com/styles/swiss-international.md): 1950–1975, Central Europe. A post-war refinement of the New Typography in which the mathematical grid, objective photography and neo-grotesque sans-serifs were used to communicate with clarity and neutrality.
- [Brazilian Concrete Design](https://stylogeny.com/styles/brazilian-concrete.md): 1951–1975, Latin America & Caribbean. A São Paulo and Rio movement in which concrete art, concrete poetry and Brazil's first design offices shared one vocabulary: Max Bill's mathematically generated geometry, serial repetition and sans-serif type.
- [Finnish Bold Print (Marimekko Modernism)](https://stylogeny.com/styles/finnish-bold-print.md): 1951–present, Northern Europe. The printed-cotton modernism of Marimekko, founded in Helsinki in 1951 by Armi and Viljo Ratia out of Viljo's printing firm Printex.
- [Zagreb Modernist Graphics (EXAT 51 to Teatar &TD)](https://stylogeny.com/styles/zagreb-modernist-graphics.md): 1951–1975, Southern Europe, Central Europe. Zagreb graphic design grown from the EXAT 51 manifesto (1951), which tied abstract art to visual communication.
- [Vicente Rojo & Mexican Editorial Modernism](https://stylogeny.com/styles/mexican-editorial-modernism.md): 1953–1990, Latin America & Caribbean. The design of Mexico City's literary and cultural press, shaped from the 1950s by the Barcelona-born exile Vicente Rojo: México en la Cultura, the Revista de la Universidad, Plural, La Jornada and the covers of Ediciones Era.
- [HfG Ulm Systematic Design](https://stylogeny.com/styles/ulm-school.md): 1953–1968, Central Europe. The Hochschule für Gestaltung Ulm (1953–1968) was founded as the successor to the Bauhaus.
- [Corporate Identity Modernism](https://stylogeny.com/styles/corporate-modernism.md): 1955–1990, North America, Western Europe, Global / networked. Modernist reduction applied to corporate communication.
- [Blue Note Jazz Sleeve Modernism](https://stylogeny.com/styles/blue-note-sleeve.md): 1956–1967, North America. The record-sleeve language of Blue Note Records, set by art director Reid Miles, who designed some 350 twelve-inch LP covers between about 1956 and 1967, often around Francis Wolff's session photographs.
- [Polish Cold War Neon (PRL Neonisation)](https://stylogeny.com/styles/polish-cold-war-neon.md): 1956–1981, Eastern Europe. The neon of People's Poland: after the 1956 thaw a state firm, Reklama, and a planned 'neonisation' set out to make war-ruined Warsaw a European capital of neon.
- [British Road Signage (Kinneir & Calvert)](https://stylogeny.com/styles/british-road-signage.md): 1958–present, Western Europe. The national sign system Jock Kinneir and Margaret Calvert designed for Britain's motorways, first used on the Preston By-pass in 1958, and through the Worboys Committee for all roads from 1 January 1965.
- [Turkish Modernist Poster & Graphic Design](https://stylogeny.com/styles/turkish-modernist-graphics.md): 1959–2000, Middle East & North Africa. The posters of Istanbul's first generation of professional graphic designers for theatres, films, festivals and exhibitions.
- [Bossa Nova Sleeve Modernism (César Villela and Elenco)](https://stylogeny.com/styles/bossa-nova-sleeve.md): 1960–1968, Latin America & Caribbean. The cover language of bossa nova, made in Rio by the self-taught designer César Villela, first at Odeon and then on the first sixteen LPs of Aloysio de Oliveira's label Elenco (from 1963), often around Francisco Pereira's photographs.
- [Di Tella Graphic Design (Instituto Torcuato Di Tella)](https://stylogeny.com/styles/di-tella-graphics.md): 1960–1970, Latin America & Caribbean. The in-house graphics of Buenos Aires' Instituto Torcuato Di Tella, 1960–1970, led by Juan Carlos Distéfano with Juan Andralis, Rubén Fontana, Norberto Coppola and Carlos Soler.
- [Op Art Graphics](https://stylogeny.com/styles/op-art.md): 1960–1975, Global / networked. A 1960s style that turned perceptual research into graphic effect: precisely drawn lines, checks, concentric rings and modular grids, usually black and white or complementaries of equal value, that seem to vibrate, swell or move.
- [Iranian Modernist Graphic Design](https://stylogeny.com/styles/persian-modernism.md): 1960–present, Middle East & North Africa. Iranian graphic design came of age in the 1960s and 1970s.
- [Indian Institutional Modernism (NID)](https://stylogeny.com/styles/indian-modernism.md): 1961–1990, South Asia. The design culture of independent India's public institutions, banks and broadcasters.
- [Casablanca School Graphic Modernism](https://stylogeny.com/styles/casablanca-school.md): 1962–1987, Middle East & North Africa. A postcolonial modernism formed at the Casablanca fine-art school under Farid Belkahia, where Mohamed Melehi, Mohammed Chabâa and colleagues set Amazigh rugs and jewellery, painted ceilings and calligraphy beside a Bauhaus-style merging of art, craft and design.
- [Total Design & Dutch Functionalism](https://stylogeny.com/styles/dutch-total-design.md): 1963–1990, Western Europe. The Dutch strand of systematic modernism took shape when Wim Crouwel, Benno Wissing, Friso Kramer and Paul and Dick Schwarz founded Total Design in Amsterdam in 1963 as the country's first multidisciplinary studio.
- [Hong Kong East–West Graphic Modernism](https://stylogeny.com/styles/hong-kong-modernism.md): 1964–present, East Asia. The studio design of Hong Kong from the 1960s, made for banks, developers, trade bodies, hotels and cultural events in a city that had to speak Chinese and English at once.
- [Minimalist Graphic Design](https://stylogeny.com/styles/minimalism.md): 1965–present, Global / networked. Modernism reduced to its barest means, informed by 1960s Minimal art and Japanese emptiness: one image or line of type, vast white or neutral space, a monochrome or near-monochrome palette and meticulous typographic detail.
- [Mexico 68 Olympic & Metro Identity](https://stylogeny.com/styles/mexico-68.md): 1966–1970, Latin America & Caribbean. The graphic programme of the 1968 Mexico City Olympics and the city's first Metro line.
- [Munich 1972 Olympic Design (Otl Aicher)](https://stylogeny.com/styles/munich-72.md): 1966–1972, Central Europe. The visual programme Otl Aicher's department made for the 1972 Munich Olympics, the 'cheerful Games' meant to show a democratic, modest West Germany.
- [Soviet Central Asian Ornamental Modernism](https://stylogeny.com/styles/soviet-central-asian-modernism.md): 1966–1999, Eastern Europe. The monumental art of Soviet Central Asia after the 1966 Tashkent earthquake: a strand of Socialist Realism mixed with Islamic and national ornament.
- [ECM Sleeve Aesthetic (Munich)](https://stylogeny.com/styles/ecm-sleeve.md): 1969–present, Central Europe. The cover language of the Munich label ECM, made since 1970 by Barbara Wojirsch, Dieter Rehm and later Sascha Kleis and Mayo Bucher with co-founder Manfred Eicher.
- [Roman-like Thai Typography (modern loopless Thai)](https://stylogeny.com/styles/thai-loopless-type.md): 1973–present, Southeast Asia. A Thai type genre that drops the head loops of most Thai letters, so the script reads as an even sans like Helvetica.
- [Contemporary Arabic & Dual-Script Type Design](https://stylogeny.com/styles/arabic-latin-bilingual-type.md): 2004–present, Middle East & North Africa, Western Europe, Global / networked. A twenty-first-century type culture that redraws Arabic as a family matched to a Latin companion in weight, proportion and contrast, so the two scripts can share a page, screen or sign as equals.
- [Neo-Swiss Revival](https://stylogeny.com/styles/swiss-revival.md): 2005–present, Global / networked, Central Europe, Western Europe. A contemporary revival of the International Typographic Style, fuelled by digital re-releases of neo-grotesques and by studios such as Experimental Jetset and Norm: modular grids, flush-left grotesque type, huge tightly set headlines and flat fields of black, white and one signal colour.
- [Slow-Living Editorial (the Kinfolk Look)](https://stylogeny.com/styles/kinfolk-slow-editorial.md): 2011–present, North America, Northern Europe, Global / networked. The look of Kinfolk, the slow-living quarterly founded in Portland in 2011 and run from Copenhagen since 2015, and of the indie lifestyle titles and Instagram feeds that copied it.
- [Plain Tobacco Packaging](https://stylogeny.com/styles/plain-packaging.md): 2012–present, Oceania, Western Europe, Northern Europe, North America, Global / networked. A packaging language written into law to strip tobacco of persuasion.
- [Front-of-Pack Warning Octagons (Latin American Food Warning Seals)](https://stylogeny.com/styles/front-of-pack-warning-octagons.md): 2016–present, Latin America & Caribbean. A state warning system stacked on commercial food packs.
- [Pop Art Graphics](https://stylogeny.com/styles/pop-art.md): 1955–1975, North America, Western Europe. Pop turned the commercial imagery of post-war consumer culture (comics, packaging, celebrity photographs and advertising) into both its subject and its method.
- [Situationist Détournement Graphics](https://stylogeny.com/styles/situationist-detournement.md): 1956–1972, Western Europe, Northern Europe. Graphics of the Letterist and Situationist Internationals (1956–1972), built on détournement: taking existing words and pictures (comic strips, advertisements, news photographs, city maps, classic texts) and turning them against their source.
- [Dazibao (Big-Character Posters)](https://stylogeny.com/styles/dazibao.md): 1957–1980, East Asia. Handwritten wall posters in large brush characters that turned the walls of Mao-era China into a public forum for criticism, denunciation and, at the Democracy Wall, dissent.
- [Fluxus Graphics (Maciunas)](https://stylogeny.com/styles/fluxus.md): 1962–1978, North America, Central Europe, Western Europe. The house graphics George Maciunas made from 1962 until his death in 1978 for Fluxus, a network of artists who staged events and sold cheap multiples.
- [Tropicália Graphic Design](https://stylogeny.com/styles/tropicalia-graphics.md): 1964–1975, Latin America & Caribbean. The graphic language of Brazil's Tropicália, foreshadowed by Rogério Duarte's poster for Deus e o Diabo na Terra do Sol (1964), which already devours Ulm modernism, and set by his 1968 covers for Caetano Veloso and Gilberto Gil.
- [Angura Theatre Poster](https://stylogeny.com/styles/angura-poster.md): 1965–1985, East Asia. The posters of Japan's underground (angura) theatre from the mid-1960s to the mid-1980s, made for troupes such as Kara Jūrō's Jōkyō Gekijō and Terayama Shūji's Tenjō Sajiki.
- [Chicano Screenprint Poster](https://stylogeny.com/styles/chicano-poster.md): 1965–present, North America. The screenprinted poster of the Chicano Movement and its heirs, made from the mid-1960s in community workshops across California and the Southwest for farmworker strikes and boycotts, teatro, dances, anti-war marches and immigrant rights.
- [Psychedelic Poster](https://stylogeny.com/styles/psychedelic.md): 1965–1973, North America, Western Europe. The concert-poster language of the 1960s counterculture, born in San Francisco's Fillmore and Avalon ballrooms and echoed in London's underground press.
- [Black Panther Party Graphics](https://stylogeny.com/styles/black-panther-graphics.md): 1967–1980, North America. The visual language of the Black Panther Party, created largely by its Minister of Culture, Emory Douglas, for the weekly newspaper The Black Panther.
- [AfriCOBRA](https://stylogeny.com/styles/africobra.md): 1968–present, North America. The Black Arts Movement collective founded in Chicago in 1968 by Jeff Donaldson, Wadsworth and Jae Jarrell, Barbara Jones-Hogu and Gerald Williams, after OBAC's Wall of Respect mural.
- [Atelier Populaire (May '68 Screenprint Poster)](https://stylogeny.com/styles/atelier-populaire.md): 1968, Western Europe. The posters of the Atelier populaire, set up when students, teachers and artists occupied the École des Beaux-Arts in Paris on 14 May 1968, until police cleared the school on 27 June.
- [Gráfica del 68 (Mexican Student Movement Graphics)](https://stylogeny.com/styles/grafica-68-mexico.md): 1968, Latin America & Caribbean. The graphics of the 1968 Mexican student movement, made in days by brigades in the print workshops of San Carlos and La Esmeralda and in improvised school workshops.
- [Hipgnosis Photographic Concept Sleeve](https://stylogeny.com/styles/hipgnosis-sleeve.md): 1968–1983, Western Europe. The sleeves the London studio Hipgnosis made for Pink Floyd, Led Zeppelin, Genesis, Peter Gabriel, 10cc and others from 1968 to 1983.
- [Ultras Graphics (Curva Banners and Tifo)](https://stylogeny.com/styles/ultras-graphics.md): 1968–present, Southern Europe, Western Europe, Central Europe, Eastern Europe, Middle East & North Africa, Southeast Asia, North America. The graphic language of Italy's organised football supporters, the ultras, from the late 1960s, and of the groups that copied them across Europe, North Africa and beyond.
- [Underground Comix](https://stylogeny.com/styles/underground-comix.md): 1968–1982, North America, Western Europe. Self-published, adults-only comic books from the San Francisco counterculture, made outside the Comics Code on the newsstand comic's format.
- [Afrofuturist Design](https://stylogeny.com/styles/afrofuturism.md): 1970–present, North America, Sub-Saharan Africa, Global / networked. A visual language of Black futures that fuses African and diasporic iconography (pyramids and ankhs, Adinkra and Nsibidi glyphs, textile patterning) with spacecraft, cosmic fields and technology.
- [Grapus (French Militant Graphic Collective)](https://stylogeny.com/styles/grapus.md): 1970–1990, Western Europe. The posters and identities of Grapus, a Paris collective founded in 1970 by Communist Party members who had met in the 1968 poster workshops.
- [Australian Poster Collective Screenprints](https://stylogeny.com/styles/australian-poster-collectives.md): 1971–1994, Oceania. Screenprinted posters from the political poster collectives and community workshops that spread across Australia from Sydney's Tin Sheds, where Earthworks began in 1971.
- [Graffiti & Hip-Hop Graphics](https://stylogeny.com/styles/hip-hop-graffiti.md): 1972–present, North America, Global / networked. Born on New York's subway cars and Bronx party flyers, graffiti writing turns the writer's name into a monumental letter-sculpture: bubble, block and wildstyle letters with arrows, 3D drop shadows, fades and highlights, painted freehand in aerosol.
- [Roots Reggae Sleeve Art & Rasta Iconography](https://stylogeny.com/styles/roots-reggae-sleeve.md): 1973–1985, Latin America & Caribbean, Western Europe. The record sleeves of roots reggae, from Catch a Fire (1973) until dancehall took over in the 1980s.
- [Afrobeat Sleeve Art](https://stylogeny.com/styles/afrobeat-sleeve-art.md): 1974–present, Sub-Saharan Africa. The painted and collaged record covers of Nigerian Afrobeat, defined by Lemi Ghariokwu's sleeves for Fela Kuti from Alagbon Close (1974) onward.
- [Punk & DIY Zine](https://stylogeny.com/styles/punk-diy.md): 1976–1986, Western Europe, North America. The graphic voice of punk rock in fanzines, record sleeves and gig flyers: images and words cut from newspapers, typed or scrawled, pasted down and run off on a photocopier.
- [La Movida Madrileña Graphics](https://stylogeny.com/styles/movida-madrilena.md): 1977–1988, Southern Europe. The graphics of Madrid's Movida, the post-Franco scene of new-wave bands, fanzines and night life usually dated from the Canito concert of 9 February 1980 and later backed by the city council.
- [Stencil Street Art](https://stylogeny.com/styles/stencil-street-art.md): 1978–present, Western Europe, Latin America & Caribbean, North America, Global / networked. Pictures cut rather than drawn: a photograph is reduced to two or three flat tones, cut into card and sprayed onto a wall, usually uninvited, so one hard-edged figure appears in the street, in black with at most one accent colour.
- [Chicha Poster](https://stylogeny.com/styles/chicha-poster.md): 1980–present, Latin America & Caribbean. Fluorescent screen-printed street posters that emerged in the 1980s to promote chicha (Andean cumbia) concerts in Lima, made by printers from Andean migrant communities.
- [Jamaican Dancehall Signs & Sleeve Art](https://stylogeny.com/styles/jamaican-dancehall-graphics.md): 1980–present, Latin America & Caribbean. The street graphics of Jamaica's dancehall era.
- [Pixação (São Paulo Tag Reto)](https://stylogeny.com/styles/pixacao.md): 1980–present, Latin America & Caribbean. The name-writing of São Paulo's pixadores, which since the 1980s has covered walls and façades and, from the 1990s, the upper floors of tower blocks.
- [Solidarność & Polish Underground Graphics](https://stylogeny.com/styles/solidarnosc-graphics.md): 1980–1989, Eastern Europe. The graphic language of Poland's Solidarność movement, from the August 1980 shipyard strike to the semi-free election of 4 June 1989.
- [ACT UP & Gran Fury AIDS Activist Graphics](https://stylogeny.com/styles/act-up-gran-fury.md): 1987–1995, North America. The graphics of New York's AIDS activist movement: the SILENCE=DEATH poster of 1987, a pink triangle above white capitals on black, and the posters, stickers, T-shirts, billboards and bus ads of Gran Fury (1988–1995), ACT UP's 'unofficial propaganda ministry'.
- [Rave & Acid House Graphics](https://stylogeny.com/styles/rave-flyer.md): 1988–2000, Western Europe. The pocket-sized promotional art of acid house, rave and early techno, handed out in record shops and car parks to advertise all-night parties.
- [Black Metal Graphics](https://stylogeny.com/styles/black-metal-graphics.md): 1990–present, Northern Europe, Global / networked. The visual language of black metal, fixed by Norway's second wave in the early 1990s, now worldwide, since the 2010s borrowed by mainstream acts (Szpajdel's Rihanna and Metallica logos, 2016).
- [Grunge Typography](https://stylogeny.com/styles/grunge-typography.md): 1990–2000, North America, Western Europe. The 1990s magazine and music-industry style in which type was layered, eroded, overlapped and cropped until legibility became negotiable.
- [Screenprinted Gig & Alt-Movie Poster](https://stylogeny.com/styles/screenprint-gig-poster.md): 1991–present, North America, Western Europe, Global / networked. Hand-pulled, numbered screenprints that revived the rock poster in Austin from 1991, led by Frank Kozik, and spread via Flatstock fairs and, from 2004, Mondo to 'alternative' film posters, for collectors as much as the show.
- [Bitterkomix (Afrikaans Underground Comics)](https://stylogeny.com/styles/bitterkomix.md): 1992–present, Sub-Saharan Africa. The Afrikaans underground comics magazine founded in Stellenbosch in 1992 by Anton Kannemeyer (Joe Dog) and Conrad Botes (Konradski), with Mark Kannemeyer (Lorcan White).
- [Hype Streetwear Graphics (Box Logo to Quotation Marks)](https://stylogeny.com/styles/hype-streetwear-graphics.md): 1993–present, North America, East Asia, Southern Europe, Western Europe, Global / networked. The logo-led graphics of streetwear since the 1990s: one wordmark or emblem on a plain T-shirt, hoodie or object is the product.
- [Indonesian Woodcut Activism (Taring Padi)](https://stylogeny.com/styles/taring-padi-woodcut.md): 1998–present, Southeast Asia. The protest graphics of Taring Padi, the collective founded by students and activists in Yogyakarta in 1998 as Suharto fell, and of the punk and activist woodcut scenes around it.
- [Arabic Calligraffiti](https://stylogeny.com/styles/arabic-calligraffiti.md): 2002–present, Middle East & North Africa, Western Europe, Global / networked. Arabic letters sprayed, rolled and brushed at the scale of buildings.
- [Cartonera Books (Latin American Cardboard Publishing)](https://stylogeny.com/styles/cartonera-books.md): 2003–present, Latin America & Caribbean. Books of Latin America's cartonera presses, begun by Eloísa Cartonera in Buenos Aires in 2003 after Argentina's 2001 crash: photocopied texts stapled and glued by hand into covers cut from used boxes, usually bought from cartoneros (waste pickers) above the market price.
- [Oaxacan Protest Printmaking & Street Graphics (ASARO)](https://stylogeny.com/styles/oaxaca-protest-graphics.md): 2006–present, Latin America & Caribbean. The street graphics of Oaxaca City since the 2006 teachers' strike and APPO uprising, when ASARO, the stencil collective Lapiztola and later workshops such as Colectivo Subterráneos made the colonial centre's walls a newspaper.
- [Arab Independent Comics (Samandal, TokTok, Lab619, Skefkef)](https://stylogeny.com/styles/arab-independent-comics.md): 2007–present, Middle East & North Africa. Adult comics magazines edited by Arab artists' collectives since 2007, at times with a ministry grant or an NGO partner: Samandal in Beirut, TokTok in Cairo, Lab619 in Tunis and Skefkef in Casablanca.
- [Natural Wine Label Art](https://stylogeny.com/styles/natural-wine-label.md): 2007–present, Western Europe, Southern Europe, Central Europe, Global / networked. The labels of the natural (low-intervention) wine scene, which grew from Beaujolais into a worldwide network of small growers, bars and importers.
- [Risograph & Indie Print Culture](https://stylogeny.com/styles/risograph-indie.md): 2008–present, Global / networked. A contemporary culture of zines, art books, posters and prints made on Japanese Risograph stencil duplicators, whose soy-based spot inks (fluorescent pink, yellow, blue, teal) are laid down one drum at a time.
- [Egyptian Revolutionary Street Art (Mohamed Mahmoud Murals)](https://stylogeny.com/styles/egyptian-revolution-street-art.md): 2011–2014, Middle East & North Africa. The street art of Egypt's 2011 revolution and the years after it, when Cairo's walls, above all around Tahrir and Mohamed Mahmoud Street, became what Ammar Abo Bakr called a newspaper.
- [Syrian Revolution Graphics (Kafranbel Banners & Poster Collectives)](https://stylogeny.com/styles/syrian-revolution-graphics.md): 2011–2024, Middle East & North Africa. Protest graphics of the Syrian uprising from 2011, made to be photographed and shared online rather than to last on a wall.
- [Hong Kong Protest Art (Umbrella Movement to the 2019–20 Protests)](https://stylogeny.com/styles/hong-kong-protest-art.md): 2014–2020, East Asia. The graphics of Hong Kong's democracy protests, from the 2014 Umbrella Movement to the national security law of 2020, in two linked media.
- [Latin American Feminist Protest Graphics (Ni Una Menos and the Green Wave)](https://stylogeny.com/styles/marea-verde-graphics.md): 2015–present, Latin America & Caribbean. The graphics of Latin America's feminist tide, a mass movement since Ni Una Menos (Buenos Aires, 3 June 2015) and the 2018 'marea verde' for legal abortion, though its scarf dates from 2003.
- [Acid Graphics / New Ugly](https://stylogeny.com/styles/acid-graphics.md): 2016–present, Global / networked, Western Europe, Central Europe. A late-2010s club and poster style that updates 1990s rave graphics with modern 3D tools: liquid-chrome and melting lettering, neo-tribal spikes, wireframes, op-art patterns and acid-green palettes on black, mixed with blackletter and stretched grotesques.
- [Extinction Rebellion Graphics](https://stylogeny.com/styles/extinction-rebellion-graphics.md): 2018–present, Western Europe, Global / networked. The visual identity of Extinction Rebellion, the climate movement founded in Stroud in 2018, built by its volunteer Art Group as a free kit anyone may print.
- [Post-Binary Typography (Bye Bye Binary and Inclusive French Type)](https://stylogeny.com/styles/post-binary-typography.md): 2018–present, Western Europe, Central Europe. A Franco-Belgian type practice that redesigns written French for gender inclusion inside the word.
- [Chilean Estallido Social Graphics (Revuelta Popular of 2019–20)](https://stylogeny.com/styles/chilean-estallido-graphics.md): 2019–2022, Latin America & Caribbean. The street graphics of Chile's popular revolt, from 18 October 2019 to the March 2020 lockdowns, when a leaderless movement covered Santiago's Plaza de la Dignidad, the Alameda and other cities' walls.
- [Black Lives Matter Street Murals](https://stylogeny.com/styles/blm-street-murals.md): 2020–present, North America. A single protest slogan painted along the roadway in capitals 20 to 35 feet tall, filling the street from kerb to kerb, so it reads whole only from rooftops, drones and helicopters.
- [Palestinian Watermelon and Keffiyeh Graphics](https://stylogeny.com/styles/palestine-solidarity-graphics.md): 2021–present, Middle East & North Africa, Global / networked. Graphics of Palestinian identity and of solidarity with Palestinians, made by Palestinian artists, the diaspora and supporters worldwide and shared mainly online, above all since the Gaza war began in October 2023.
- [Woman, Life, Freedom Protest Graphics (Iran and the Diaspora)](https://stylogeny.com/styles/woman-life-freedom-graphics.md): 2022–present, Middle East & North Africa, Global / networked. Posters and digital graphics made in Iran and the diaspora after Mahsa (Jina) Amini died in morality-police custody in September 2022.
- [Swiss Punk / New Wave Typography](https://stylogeny.com/styles/new-wave-typography.md): 1968–1990, Central Europe, North America. A rebellion from inside the Swiss school: Wolfgang Weingart and his Basel students kept the grotesque and the grid but set them in motion with extreme letterspacing, stepped and angled lines, rules and bars, enlarged halftone screens and layered film montage.
- [Kawaii Design](https://stylogeny.com/styles/kawaii.md): 1970–present, East Asia. Japan's culture of cuteness, which grew from 1970s teenage rounded handwriting and shōjo fancy goods into a global design language through Sanrio, character merchandise and emoji.
- [Dutch Expressive Postmodernism (Studio Dumbar & Hard Werken)](https://stylogeny.com/styles/dutch-expressive-postmodernism.md): 1977–1994, Western Europe. An anti-functionalist current in Dutch graphic design led by Studio Dumbar in The Hague (from 1977) and the Rotterdam collective Hard Werken (magazine from 1979, design office 1982–1994).
- [Post-Punk Record Sleeve (Stiff, Factory, 4AD)](https://stylogeny.com/styles/post-punk-sleeve.md): 1977–1990, Western Europe. The record sleeves that British art-school designers made after punk, for independent labels and some majors: Barney Bubbles at Stiff, Malcolm Garrett for Buzzcocks, Peter Saville at Factory and 23 Envelope at 4AD.
- [Cranbrook & Deconstructivist Typography](https://stylogeny.com/styles/deconstructivist-typography.md): 1980–1998, North America. Graduate-school experimentation, centred on Katherine and Michael McCoy's Cranbrook design programme, that applied post-structuralist literary theory to the page.
- [NSK Retro-Avant-Garde](https://stylogeny.com/styles/nsk-retro-avantgarde.md): 1980–present, Central Europe, Southern Europe. The retro-avant-garde of Neue Slowenische Kunst, founded in Ljubljana in 1984 by Laibach, IRWIN and the Scipion Nasice Sisters Theatre, with Novi kolektivizem as its design department.
- [Memphis Design](https://stylogeny.com/styles/memphis.md): 1981–1988, Southern Europe. The Milan collective founded by Ettore Sottsass, whose furniture, laminates and objects (first shown in September 1981) became a graphic language of their own.
- [Emigre & Early Digital Type](https://stylogeny.com/styles/emigre.md): 1984–1998, North America. Rudy VanderLans and Zuzana Licko's magazine and type foundry, launched in 1984 alongside the first Macintosh, turned the computer's low-resolution constraints into a new typographic idiom.
- [Out-of-Square Hangul Typography](https://stylogeny.com/styles/out-of-square-hangul.md): 1985–present, East Asia. A Korean typographic movement that frees Hangul from the equal square in which metal and photo type had always set each syllable.
- [Techno-Futurist Graphics](https://stylogeny.com/styles/techno-futurism.md): 1986–2002, Western Europe, East Asia. Electronic-music and video-game graphics of the late 1980s and 1990s that turned corporate modernism into a sci-fi consumer fantasy.
- [Global Village Coffeehouse](https://stylogeny.com/styles/global-village-coffeehouse.md): 1988–2003, North America. The faux-naive, earth-toned illustration style that late-1980s American designers set against Memphis, and that chain cafés, bookstores, packaging and clip art spread through the 1990s.
- [Superflat](https://stylogeny.com/styles/superflat.md): 1993–present, East Asia, Global / networked. The flat, saturated, cartoon-crowded look that Takashi Murakami named in his exhibition and manifesto Superflat (Tokyo, 2000; US tour 2001).
- [South African Vernacular Design (Ijusi)](https://stylogeny.com/styles/ijusi-vernacular.md): 1995–present, Sub-Saharan Africa. A post-apartheid design language launched in Durban in 1995 by Garth Walker's Orange Juice Design and its free, experimental magazine Ijusi (isiZulu for 'juice'), which asked 'What makes me South African, and what does that look like?'.
- [Indian Pop-Kitsch Design (Desi Kitsch)](https://stylogeny.com/styles/indian-kitsch.md): 1997–present, South Asia. Urban Indian gift and T-shirt design from the late 1990s into the 2010s that recasts the street and bazaar as ironic, affectionate icons: truck tails and 'Horn OK Please', auto-rickshaws, Ambassadors and Chetaks, cutting chai, old Bollywood stills and dialogues, Bhagat Singh in place of Che.
- [Korean Commercial Calligraphy (Kaelligeurapi)](https://stylogeny.com/styles/korean-commercial-calligraphy.md): 1999–present, East Asia. Brush-written Hangul made for commerce, not the scroll.
- [Yuru-chara (Japanese Local Mascot Design)](https://stylogeny.com/styles/yuru-chara.md): 2000–present, East Asia. Japan's local mascots: characters commissioned by prefectures, towns and tourism bodies to stand for a place, named yuru-kyara ('loose characters') by the illustrator Jun Miura around 2000.
- [Hauntology & Ghost Box Design](https://stylogeny.com/styles/hauntology-ghost-box.md): 2004–present, Western Europe. Sleeves and print that rebuild a misremembered British past from the public graphics of roughly 1958–1978.
- [Itasha (Anime Character Car Graphics)](https://stylogeny.com/styles/itasha.md): 2005–present, East Asia. Private cars, motorbikes and bicycles that Japanese fans of anime, manga and games cover with their favourite characters, named by the mid-2000s with the self-mocking word itasha, 'painful car'.
- [Modern Calligraphy and Brush Lettering](https://stylogeny.com/styles/modern-calligraphy.md): 2005–present, North America, Western Europe, Global / networked. The loose pointed-pen and brush-pen script of wedding stationery and the 2010s craft boom.
- [Seoul Independent Graphic Design (Small-Studio Scene)](https://stylogeny.com/styles/seoul-independent-design.md): 2005–present, East Asia. Graphic design by Seoul's small, self-run studios, which from about 2005 chose to stay small.
- [Hipster Artisanal Revival](https://stylogeny.com/styles/hipster-artisanal.md): 2007–2018, North America, Global / networked. The trade-mark look of the 2007–2018 craft boom, which dressed new coffee roasters, breweries and stationers as nineteenth- and early-twentieth-century firms.
- [Lucerne Poster Scene (Neubad & Südpol Posters)](https://stylogeny.com/styles/lucerne-poster-scene.md): 2007–present, Central Europe. Lucerne's poster culture for small non-commercial venues (Südpol, Neubad, Treibhaus) and the Weltformat festival.
- [Data Humanism](https://stylogeny.com/styles/data-humanism.md): 2014–present, Southern Europe, North America, Western Europe. An information-design approach that draws data rather than charting it, treating numbers as personal, approximate and human.
- [Newtro (Korean New-Retro)](https://stylogeny.com/styles/newtro.md): 2017–present, East Asia. A South Korean branding trend, named 'Going New-tro' in Seoul National University's Trend Korea 2019 (October 2018), in which heritage firms reissue their own postwar to 1990s labels, trademarks and mascots, polished for young buyers.
- [Guochao (China-Chic National Trend)](https://stylogeny.com/styles/guochao.md): 2018–present, East Asia. A Chinese branding and fashion trend, usually dated from Li-Ning's 'China Li-Ning' show at New York Fashion Week in February 2018, that redraws heritage motifs as finishes for sneakers, apparel, cosmetics and museum merchandise.
- [Bitmap & Pixel Graphics](https://stylogeny.com/styles/bitmap-pixel.md): 1977–1995, North America, East Asia. Graphics and lettering built from the square pixels of low-resolution screens (arcade and console sprites, home-computer displays and the first graphical user interfaces), where every dot was placed by hand within tight limits of memory, resolution and palette.
- [Demoscene Graphics (Cracktros, Demos & Text-Mode Art)](https://stylogeny.com/styles/demoscene-graphics.md): 1985–present, Northern Europe, Central Europe, Western Europe, North America, Global / networked. The graphics of the demoscene, a mainly European community of coders, graphicians and musicians that grew from the intros software crackers added to pirated Commodore 64 and Amiga games in the mid-1980s.
- [Early Web Vernacular](https://stylogeny.com/styles/early-web.md): 1994–2004, Global / networked. The amateur web of the mid-1990s to early 2000s, when millions of people hand-coded personal homepages on free hosts such as GeoCities with table layouts, browser-default fonts, tiled backgrounds, animated GIFs, MIDI soundtracks, hit counters and ‘under construction’ signs.
- [Emoji Pictographic Language](https://stylogeny.com/styles/emoji.md): 1997–present, East Asia, Global / networked. Pictographs typed as characters and set inline in running text.
- [Y2K Futurism](https://stylogeny.com/styles/y2k-futurism.md): 1997–2005, Global / networked. The optimistic, chrome-plated vision of the future that surrounded the turn of the millennium, spread by consumer electronics, music videos, games, fashion and dot-com branding.
- [Fantasy User Interface (FUI) & Sci-Fi HUD](https://stylogeny.com/styles/fantasy-ui.md): 1999–present, North America, Western Europe, Global / networked. Fantasy user interfaces are the screen graphics of films and series: computer screens, holograms and helmet HUDs made to be watched for a few seconds, not used.
- [Japanese Dense Web Design](https://stylogeny.com/styles/japanese-dense-web.md): 1999–present, East Asia. The information-packed look of Japan's big portals, shops, airlines and ministries: three or more narrow columns of boxed modules, crowded with small Japanese text, blue links, tiny thumbnails, dated news lists and rotating ad banners, in bright colours on a white page.
- [Skeuomorphic UI](https://stylogeny.com/styles/skeuomorphism.md): 2000–2013, Global / networked. Interface design that imitates physical materials and objects (stitched leather, linen, wooden shelves, brushed aluminium, felt, paper and glass) so that digital tools look and behave like their real-world counterparts.
- [Glitch Art & Datamosh Graphics](https://stylogeny.com/styles/glitch-art.md): 2001–present, Global / networked, Western Europe, Central Europe, Northern Europe, North America. An art and design practice that makes digital failure the picture.
- [Korean Webtoon Graphics](https://stylogeny.com/styles/webtoon.md): 2002–present, East Asia, Global / networked. The full-colour, vertical-scroll comic that Korean web portals made standard in the 2000s and smartphone apps took worldwide.
- [Internet Ugly & Meme Vernacular](https://stylogeny.com/styles/internet-ugly.md): 2003–present, Global / networked, North America. A deliberately amateur image dialect of forums, imageboards and social feeds, named 'Internet Ugly' by Nick Douglas in 2014.
- [Frutiger Aero](https://stylogeny.com/styles/frutiger-aero.md): 2004–2013, Global / networked. The glossy, optimistic look of consumer technology from the mid-2000s to the early 2010s, retrospectively named in 2017 by the Consumer Aesthetics Research Institute after Windows Vista's Aero interface and Adrian Frutiger's humanist sans.
- [Danmaku Bullet-Comment Overlay](https://stylogeny.com/styles/danmaku-comments.md): 2006–present, East Asia. The bullet-comment layer of Japanese and Chinese video sites, begun on Niconico in December 2006 and taken up by AcFun and Bilibili in 2008–2009.
- [Synthwave / Outrun](https://stylogeny.com/styles/synthwave-outrun.md): 2006–present, Global / networked, Western Europe, Northern Europe, North America, Oceania. The retro-futurist look of synthwave music: a 1980s revival that grew from mid-2000s French electro and online synth scenes, took its other name from Sega's arcade racer Out Run (1986) and reached the mainstream with Drive (2011).
- [Generative & Dynamic Identities](https://stylogeny.com/styles/generative-identity.md): 2007–present, Global / networked, Western Europe, North America. Identity systems designed as rules rather than fixed marks: logos and graphics generated by code, data or parameters so that they vary endlessly while staying recognisable.
- [Newsroom Data Graphics & Scrollytelling](https://stylogeny.com/styles/newsroom-data-graphics.md): 2009–present, North America, Western Europe. The house style of newspaper graphics desks since about 2009–2011 (the New York Times graphics desk, D3.js, the Guardian Datablog): conventional charts drawn from the data, on a white or pale paper ground with light grey gridlines and no axis titles, lines labelled directly in place of a legend where possible and short annotations saying what to look at.
- [Flat Design](https://stylogeny.com/styles/flat-design.md): 2010–2016, North America, Global / networked. An interface and illustration language that stripped screens of simulated materials, replacing bevels, gloss and textures with solid fields of colour, clean sans-serif type and reduced pictograms.
- [Vaporwave](https://stylogeny.com/styles/vaporwave.md): 2011–2017, Global / networked, North America. An internet-born microgenre and visual aesthetic that remixes the debris of late-20th-century consumer culture (Windows 95 dialogs, classical busts, palm trees, mall interiors, Japanese text, early 3D renders) in pastel pinks and cyans.
- [DTC 'Blanding' / Millennial Minimalism](https://stylogeny.com/styles/dtc-blanding.md): 2012–2022, North America, Global / networked. The friendly, frictionless minimalism of 2010s direct-to-consumer start-ups, built for the phone screen, the Instagram feed and the unboxing.
- [GOV.UK Design (GDS Style)](https://stylogeny.com/styles/govuk-design-system.md): 2012–present, Western Europe. The text-led design of GOV.UK, the UK government's single website, built by the Government Digital Service from 2012 and codified in the GOV.UK Design System (2018).
- [Low Poly Illustration](https://stylogeny.com/styles/low-poly.md): 2012–present, Global / networked. A digital illustration and game look in which subjects are built from a visible mesh of a few flat-shaded polygons, so that animals, faces, vehicles and landscapes read as hard-edged facets with no outline or texture.
- [YouTube Thumbnail Style (the 'YouTube Face')](https://stylogeny.com/styles/youtube-thumbnail.md): 2012–present, North America, Global / networked. The custom thumbnail of YouTube's creator economy: a 16:9 still made to be read at fingernail size in a feed of recommendations.
- ['Good Morning' Greeting Images (WhatsApp Forward Vernacular)](https://stylogeny.com/styles/good-morning-greeting-image.md): 2013–present, South Asia, Latin America & Caribbean. The ready-made greeting pictures that millions of smartphone users, many of them older and new to the internet, forward to family, friends and groups each morning on WhatsApp, above all in India and Brazil.
- [Material Design](https://stylogeny.com/styles/material-design.md): 2014–present, North America, Global / networked. Google's design system, launched in 2014, which reintroduced controlled depth to flat design through the metaphor of 'material': sheets of digital paper and ink that sit at defined elevations, cast consistent shadows and move with meaningful motion.
- [Brutalist Web Design](https://stylogeny.com/styles/web-brutalism.md): 2014–present, Global / networked, Central Europe. A reaction against templated, conversion-optimised web design that exposes the raw materials of the browser: default system fonts, blue underlined links, visible borders, unstyled forms and plain document flow.
- [Analog Horror Graphics](https://stylogeny.com/styles/analog-horror.md): 2015–present, North America, Global / networked. A horror genre, mostly on YouTube, that tells its stories through imitation television and home-video graphics rather than actors: emergency-alert screens, station IDs, public-service, educational and instructional tapes, set between the 1960s and early 2000s.
- [Illustrated Rom-Com Book Cover (Cartoon Couple Cover)](https://stylogeny.com/styles/illustrated-romcom-cover.md): 2016–present, North America, Western Europe, Global / networked. The illustrated cover of the contemporary romantic comedy: a couple drawn as flat cartoon figures with simplified faces, from silhouettes and hidden faces to a few cartoon features, caught in one gesture that states the premise, on a single saturated ground of teal, pink, yellow or purple, under a hand-lettered title so large that the figures often lean on it.
- [Kinetic Typography & Variable Type](https://stylogeny.com/styles/kinetic-typography.md): 2016–present, Global / networked, North America, Western Europe. Typography as the moving image: letterforms that stretch, squash, rotate and morph along variable-font axes, loop seamlessly and cut to the beat of music, used for identities, social-media posters and digital out-of-home screens.
- [VTuber Avatar and Stream Graphics](https://stylogeny.com/styles/vtuber-graphics.md): 2016–present, East Asia, Global / networked. The graphic kit of virtual YouTubers, streamers who perform behind an animated anime-style character instead of their own face.
- [Corporate Memphis](https://stylogeny.com/styles/corporate-memphis.md): 2017–present, North America, Global / networked. The flat vector illustration style that became the default visual voice of big tech in the late 2010s: faceless, ethnically non-specific figures with elongated limbs and tiny heads, drawn in bright flat colour among blobs, leaves and confetti.
- [Lo-fi Anime Aesthetic](https://stylogeny.com/styles/lofi-anime.md): 2017–present, Global / networked, Western Europe, North America, East Asia. The look of YouTube's 24/7 lo-fi hip hop streams.
- [NFT Profile-Picture Collections (CryptoPunks to Bored Apes)](https://stylogeny.com/styles/nft-pfp-collections.md): 2017–present, Global / networked, North America. Sets of thousands of avatar portraits that code assembles from one or two hundred hand-drawn traits, each sold as a token on a blockchain.
- [Book Blob (Abstract Colour-Blob Literary Fiction Cover)](https://stylogeny.com/styles/book-blob-cover.md): 2019–2023, North America. The default jacket of US literary fiction around 2019–2023: soft, overlapping blobs of saturated colour fill the cover edge to edge (cobalt, pink, orange-red, deep green, mustard).
- [Dark Tech Minimalism](https://stylogeny.com/styles/dark-tech-minimalism.md): 2019–present, North America, Global / networked. The dark, restrained aesthetic of developer tools and SaaS landing pages since about 2019: near-black grounds, grey type ramps, a neutral grotesque such as Inter, hairline borders, soft radial glows and bento grids of crisp product screenshots.
- [Neumorphism](https://stylogeny.com/styles/neumorphism.md): 2019–2021, Global / networked. A short-lived interface trend in which controls are extruded from, or pressed into, a background of the same colour and modelled only by paired soft shadows.
- [Weirdcore & Dreamcore](https://stylogeny.com/styles/weirdcore.md): 2019–present, Global / networked. An internet aesthetic popularised on Reddit, TikTok and YouTube in the early 2020s, with dreamcore as its softer, pastel, cloud-filled sister.
- [Claymorphism & Soft 3D](https://stylogeny.com/styles/claymorphism.md): 2020–present, Global / networked. A soft, toy-like 3D look from product design around 2020, given the name 'claymorphism' in a December 2021 article by Michał Malewicz.
- [Glassmorphism](https://stylogeny.com/styles/glassmorphism.md): 2020–present, Global / networked. An interface style of translucent, frosted panels floating over vivid, blurred backgrounds, so that depth and hierarchy come from layered transparency.
- [Instagram Slideshow Activism (Social-Justice Infographics)](https://stylogeny.com/styles/instagram-slideshow-activism.md): 2020–present, North America, Global / networked. The text-led explainer slideshows that filled Instagram after George Floyd's murder in May 2020.
- [Neo-Brutalism](https://stylogeny.com/styles/neo-brutalism.md): 2020–present, Global / networked, North America. A friendly, commercial descendant of web brutalism that keeps its blunt boxes but adds candy colour: thick black outlines, hard unblurred offset shadows, flat saturated fills and chunky sans-serif type on conventional, usable layouts.
- [Generative-AI Image Aesthetic](https://stylogeny.com/styles/ai-image-aesthetic.md): 2022–present, Global / networked. The house look of pictures synthesised by text-to-image diffusion models since 2022.

## Branches

- [Traditions & vernacular](https://stylogeny.com/branches/tradition/): 98 styles
- [Craft & organic](https://stylogeny.com/branches/organic/): 14 styles
- [Avant-garde](https://stylogeny.com/branches/avant-garde/): 22 styles
- [Pictorial & machine age](https://stylogeny.com/branches/pictorial/): 66 styles
- [Rational modernism](https://stylogeny.com/branches/modernist/): 40 styles
- [Counterculture](https://stylogeny.com/branches/counterculture/): 53 styles
- [Postmodern](https://stylogeny.com/branches/postmodern/): 25 styles
- [Digital native](https://stylogeny.com/branches/digital/): 41 styles

## World regions

- [Western Europe](https://stylogeny.com/regions/western-europe/): 77 styles
- [Northern Europe](https://stylogeny.com/regions/northern-europe/): 14 styles
- [Central Europe](https://stylogeny.com/regions/central-europe/): 45 styles
- [Eastern Europe](https://stylogeny.com/regions/eastern-europe/): 22 styles
- [Southern Europe](https://stylogeny.com/regions/southern-europe/): 33 styles
- [North America](https://stylogeny.com/regions/north-america/): 76 styles
- [Latin America & Caribbean](https://stylogeny.com/regions/latin-america/): 40 styles
- [East Asia](https://stylogeny.com/regions/east-asia/): 51 styles
- [South Asia](https://stylogeny.com/regions/south-asia/): 23 styles
- [Southeast Asia](https://stylogeny.com/regions/southeast-asia/): 14 styles
- [Middle East & North Africa](https://stylogeny.com/regions/mena/): 37 styles
- [Sub-Saharan Africa](https://stylogeny.com/regions/sub-saharan-africa/): 28 styles
- [Oceania](https://stylogeny.com/regions/oceania/): 9 styles
- [Global and networked](https://stylogeny.com/regions/global/): 66 styles

## Periods (when the styles began)

- [Before 1500](https://stylogeny.com/periods/before-1500/): 25 styles
- [1500s](https://stylogeny.com/periods/1500s/): 5 styles
- [1600s](https://stylogeny.com/periods/1600s/): 8 styles
- [1700s](https://stylogeny.com/periods/1700s/): 10 styles
- [1800s](https://stylogeny.com/periods/1800s/): 28 styles
- [1900–1909](https://stylogeny.com/periods/1900-1909/): 11 styles
- [1910s](https://stylogeny.com/periods/1910s/): 16 styles
- [1920s](https://stylogeny.com/periods/1920s/): 18 styles
- [1930s](https://stylogeny.com/periods/1930s/): 17 styles
- [1940s](https://stylogeny.com/periods/1940s/): 20 styles
- [1950s](https://stylogeny.com/periods/1950s/): 29 styles
- [1960s](https://stylogeny.com/periods/1960s/): 38 styles
- [1970s](https://stylogeny.com/periods/1970s/): 24 styles
- [1980s](https://stylogeny.com/periods/1980s/): 17 styles
- [1990s](https://stylogeny.com/periods/1990s/): 21 styles
- [2000s](https://stylogeny.com/periods/2000s/): 28 styles
- [2010s](https://stylogeny.com/periods/2010s/): 35 styles
- [2020s](https://stylogeny.com/periods/2020s/): 9 styles

## Optional

- [Get advice](https://stylogeny.com/#advice): describe a project in plain words and get a few style directions
- [Mix styles](https://stylogeny.com/mix/): blend styles into a design and a prompt for an image model